Mix buss compression and other tweaks during the mastering stage are another part of what gives the bass (and entire track for that matter) that professional sound that you may be looking for.

Hey Jim Roseberry -- Question about the Zoom B3 : Can it be made to output a clean (unprocessed) signal on one output and the full Bass Amp w/Cabinet Sim on the other output, simulataneously? I downloaded the B3 manual, but it wasn't entirely clear on that. The connection diagram shows one of the 1/4" outputs connected to a Bass Amp (which sort of implies the 1/4" output is clean to start with). The diagram also shows that there is a switch to set the XLR output to Pre or Post (Clean or Processed). So if you want both clean and processed outputs would you use the XLR for processed and the 1/4" for clean?

rodreb
Thanks for all the great advice everyone! What started this is, I watched the recent Pensado's Place with Tchad Blake. In it, he said he hasn't mic'd up a bass amp for years. He records all his basses direct in thru a Sansamp Bass Direct. In fact, he sang the praises of his Sansamp highly!
So, I thought, "I'll buy me one of those". Then, I decided to see what other folks are using so, I made this post.
Bottom line, I'm looking for a direct recorded bass sound that sounds well recorded/produced.
Typically, I record bluesy rock/indie/alt stuff.
I've tried the high impedance D.I. inputs on Focusrite ISA One and Presonus Eureka, and an ART MPA Pro II, as well as a plain old direct box from ART. I've also tried it plugged right into my Yamaha RM-800 mixer. Any/all of these are not 'BAD". I would just like to find something that gives an already produced sound without having to add a bunch of additional compression, EQ, etc. I suppose I could just record a dry, D.I. then add and amp sim after the fact but, would rather get it all in one shot, on the way in, with no latency to have to deal with.
As far as the players I record, I'd say I've been very fortunate to only have players in the very good to excellent range (so far).

Some of the greatest records were recorded using DI bass. Granted, a great preamp helps. 

I put the bass direct into my ART pro MPa II pre.  It sounds great.  Sometimes to get a bit more grit for aggressive songs, I'll patch in camel crusher (a great plug for bass...and it's free).
 
That and a bit of compression always delivers a great sound.
 

bbdude
Hey Jim Roseberry -- Question about the Zoom B3 : Can it be made to output a clean (unprocessed) signal on one output and the full Bass Amp w/Cabinet Sim on the other output, simulataneously? I downloaded the B3 manual, but it wasn't entirely clear on that. The connection diagram shows one of the 1/4" outputs connected to a Bass Amp (which sort of implies the 1/4" output is clean to start with). The diagram also shows that there is a switch to set the XLR output to Pre or Post (Clean or Processed). So if you want both clean and processed outputs would you use the XLR for processed and the 1/4" for clean?

 
Yes, you can manually switch the XLR to provide a straight (unprocessed) DI sound... while running the AmpSim via the 1/4" output/s.
 
The Bassman 300 model in the B3 easily bests any other bass amp model I've heard (including all the POD units, Bass V-Amp, software AmpSims, etc).  It sounds extremely good even when compared to (well recorded) tracks thru an Ampeg SVT Classic.  If you want a quick/easy means to to record an "Amped Up" electric bass track, the Zoom B3 is stellar.  At $200, it's a steal...
 
Tip:
Put the DynaComp right before the Bassman 300.

Since this topic revolves around trying to get that classic "Ampeg" tube amp bass tone:
 
If you're looking for an affordable real bass amp for recording, checkout the new Fender Rumble heads/cabs.  
I know... the previous Rumble series aren't exactly known to sound great...  
But the new units are a different story.
Though it has no tubes, the Rumble 500 head can produce a good impersonation of an SVT-Classic or Bassman-300.
Dial in just a little "dirt" using the Overdrive channel.
Now (to approximate that scooped SVT sound), push in the Contour button.
That's right in the ballpark.
Now, for the finishing touch, boost the Low Mid EQ just a small bit.
You've got a big, tight, dark, punchy bass tone that has some dirt... and still has plenty of clarity/articulation.
Street price for the Rumble 500 head is $400.
 
If that slightly dirty "classic-rock" tone isn't your thing, the Rumble 500 can still fit the bill.
With the Overdrive channel off and all EQ settings at 12 o'clock (detent), the unit produces a huge/tight bass tone that would work in almost any genre.
 
I'd consider the tone/response in a similar realm to the Markbass LM-III.
To my ears, the Rumble has a slightly more traditional/classic tone.
 
 
 

I'll have to try out that Fender Rumble, Jim. I have heard good comments from others as well. I have a 60w Fender Bassman tilt back practice amp that I bought about 10 years ago and I have gotten really good mic'd amp tone out of that. It has a 15" speaker in it, if I remember correctly.

elsongs
A DI is a must, not necessarily just for tone, but to ensure you have maximum signal coming into your chain for an optimum S/N ratio.

S/N is important (using 24bit vs 16bit will help) just be aware that amp sim plug-ins may react to a hotter signal differently than you expect. You may have to drop the grain feeding the plug-in.
First noticed this with the Line6 AmpFarm plug-ins.  I thought the recorded output volume of their DI's was too low but that's the level that their plug-ins prefer. If the input is hotter than it likes it doesn't matter how you tweak the plug-in it just sounds crappy.