I tried three different ways to record, unusual for me:
- through an amp, the 70's Peavey guitar amp (I don't have a bass amp) using an SM57. It was dangled down the front to the right side of the speaker cone. Result: okay, but nothing special. not very "bassy". Also, since the amp was in the room with the monitors, quite a lot of acoustic bleed over from the other tracks...duh.
- using the same amp I increased the "bass" knob and swapped mics to another one from the Wayne Pooley collection, a dynamic Sennheiser 422U. Most online descriptions note its good low frequency sound, so....why not? This time the mic was pointed to the amp (not dangling on a cable) a bit off axis. No monitor bleed from the other tracks. Of the three, this is clearly the better sounding set of takes.
3. Last and definitely least, I went back to the Sans Amp direct box. Had a lot of trouble with levels for some reason. After tackling that patiently, the results sounded like, well, like a direct box.
Performances not stellar.
Two very cool things happened.
I discovered a mistake in one early take that is actually better than the intended note. I love when that happens. I meant to play G/F# over the chords Gmaj/a,c#,f# but played G/D instead. Of course D is the root of the second chord and sounds great. I also love that G/D is correct for the next set of chords (Gmaj/a,c#,f) as well. Copied and pasted that! Oh, yes.
Did some lite copying and pasting elsewhere in the selected bass track (take four; take two using the 422U). And, for the moment, "Your Idiot Son" has a functioning bass track. I can hear it will need more work, but it is competent.
I accomplished one more thing. The secondary acoustic guitar for the ending (capo on 5) started to sound out of the pocket to me. However, today I discovered that by shifting it forward in time by a mere .043 sec the problem disappeared.
Next up, electric guitar double-tracked in a few key spots. And, lots of vocals.