hey,

i'm in the process of utilizing a corner of my studio room as an
upright bass 'station' equipped with headphone system, sub snake tie
lines, preamps and the like.

i lived in nashville for many years and learned from a few different
sources that many players used the corner of the studio to achieve that
'juke box bass' sound. a few guys insisted on standing in the corner
while i cut their tracks but i don't have any definitive info other
than nashville lore. i just know that when you stand in a corner and
play the bass, it's a beautiful thing....

this was employed for a few sessions where i was a player and the bass
tracks were very good. punchy but not boomy, 3 dimensional and round
from a bass that was a plywood Kay from the 60's.
i used an 87 on the treble 'f' hole and a 460 on the fingerboard. i
used a pendulum mdp1a on both channels into a pendulum 6386 varible Mu
compressor. some tracks were recorded in the corner, as the player
wanted and some were not. the verdict was undeniable. same player, same
mics, same signal path.....different results. notes were clearer, more
definite with less head bumping. hands down, my guys are going in the
corner if i have anything to say about it.

i'd like to make my station the place where the bass player 'goes'.

my questions a

has anyone else out there heard of this technique? i learned of this
from a couple different sources but they were all anecdotal. the bass
'station' in RCA nashville studio B was in the corner of the cut room.
guys like bob moore played those classic tracks in that spot.

in the event that it was you, would you use reflective or hard surfaces
on the walls? would you think that sonex or absorbtive surfaces would
have advantages/disadvantages? wood, 703, homasote, concrete?

the bass trap idea may cause some to wince, but i've seen it in action
and i'd like your(pl) observations before i make commitments.

thanks for your kind consideration,

gary0