Affordable Mic For Bass Cab?

[Redbrangus]

Recommending mics that cost 4, 8, 15, and even 25 times the OP's budget is not in any way responsive to the question. An SM-57, at $90 new. is one of the best values around. There may be some other mics available in the price range, but there's are reasons why the 57 is an industry standard. Buy one, take care of it, and it will be a useful tool the rest of your life, even if you decide to upgrade at a later point in time.

 

[Seashore]

I've had an Audix D4 for years, great mic, but at $150 possibly over budget. If you're using the amp and mic for mids and highs, any of the standard dynamic instrument mics would probably work. I have a 57 and a pair of e906s, I want to grab an i5 at some point, even a spare vocal mic may add an interesting character. Have fun and experiment.

The i5 is a good mic but I find it too trebly and fizzy when I'm recording cabinets and vocals. I use it, but I have to roll off a lot of high end. Great for bright snare and tom sounds, ok in a live application too. I would want a darker mic on a bass cab. I have an older budget-priced Shure mic (12A maybe?) that sounds a bit cheap solo but sits nicely in the mix on cabs. Not a step up or anything to be sought after, though. If you can find an EV N/D 868 for less than $150 used (and you can get good clean gain out of your preamp) it's a great choice on bass cabs IMO.

 

[groovaholic]

Looking back at what the OP (@Bassmaster55) said about his recording rig, I would second the recommendation that he checks out the DIs (there are TWO) on his PF-20.

If he’s recording digitally, channels are unlimited (though inputs are finite) so he can take an XLR out from both the PF-20s
“Preamp Out” and “Transformer Balanced Line Out”.

Plus, there’s a SansAmp in the picture...

Between those three feeds, a mic would only need to provide color and air - so I’d think that anything that adds vibe and “realness” would be perfect.

Maybe an omnidirectional mic or a ribbon?

I used to pair an EV 635A and an MXL R144 on guitar cabs, and either of those might be perfect for this application.

 

[bass40hz]

Sennheiser e602ii - I use one, its my favorite, super punchy and big bottom end...its made for bass drums, tubas, bass guitar and not much else...you can get one for around $100 if you look.
Rock on.

 

[Gaolee]

Maybe an omnidirectional mic or a ribbon?

I'm hardly an authority, but my take is that you can't beat a ribbon for a whole lot of coloration type uses. Inexpensive Chinese made ribbons can be had for less than $100, and they are generally durable in my experience. You won't get the kind of detail you would from a high end ribbon or a condenser, but they have a warmth that's similar to more expensive ribbons.

 

[sears]

SM57 is always the right answer but

RE20
441

I personally have had great luck with the 4033 medium diaphragm condenser on guitar and bass cabinets. Experiment with placement each time.

 

[DavC]

i'd get a sm57 ... and also , i would record the di from the amp ..!! mix to taste later ..

 

[groovaholic]

SM57 is always the right answer but...

SM57 is a workhorse because it it’s good in so many applications and great in a solid few; I see it more like “An SM57 is never the wrong answer” - but here, the OP already has an SM57 and is looking for a different flavor, so while the SM57 might be great for this application, it doesn’t meet OP’s stated need.

 

[tekhedd]

An AKG P2 lives in my standard kit: it works even if there's not phantom, not too expensive.

 

[Dirk Diggler]

Sm58 over the Sm57 anyday.

 

[sears]

SM57 is a workhorse because it it’s good in so many applications and great in a solid few; I see it more like “An SM57 is never the wrong answer” - but here, the OP already has an SM57 and is looking for a different flavor, so while the SM57 might be great for this application, it doesn’t meet OP’s stated need.

that's why I mentioned 3 others that work great!

 

[groovaholic]

that's why I mentioned 3 others that work great!

The other criteria was < $100.

You recommended 3 great mics; but none of them squeeze under that price point

 

[Slough Feg Bass]

when I started recording I picked up the Audix D4, and really, it sounds pretty good for the money.
You can totally find a used one for $100.
once you find the sweet spot in front of your amp, little bit of 2:1 and EQ to taste, you won't have to mess with anything in the mix, just how much DI to blend.

Good luck!

 

[GreyBeard]

PVM 520s

Peavey PVM520TN Bass/Kick Drum Microphone PVM 520TN | eBay

A little over $100 but not too bad.

I personally use an old CAD E100 condenser. It responds down to 10 hz and is ruler flat up to 10k hz.

 

[Jehos]

If possible I'd experiment with a SM-57 and SM-58. The 57 has a much spikier response in the 3kHz-6kHz range, but is flatter before then. SM-58 ramps up smoothly to a slight boost in that same range. Side-by-side it sounds like the 57 is mid-scooped a little, but there's a lot of pleasant stuff in that range where the 58 is ramping up and the 57 isn't.

Ignore the stuff about the 58 having a lower SPL it can handle. The lowest SPL where it physically clips is 150dB @ 100Hz. You're not putting out 150dB from your rig.

[Invalid or Expired Link Removed]

 

[groovaholic]

The E100 is a REALLY good choice, but could be another difficult one to find.

The E100 has an internal rechargeable battery, so I found it best to send it phantom power early to ensure that it had sufficient charge built up.

E100 is also really good inside a kick drum...

 

[seamonkey]

On the comparisons between a sm57 and sm58 Shure's own site says they are the same cartridge, xformer, etc, and differ only by grill.
What's the Difference Between the SM58 and the SM57?

I don't know if this has always been true in their long history. And there may be some years they differ more in cartridges.

The point is there is a lot of highly defined perceived differences. It may only be from sited tests. Cork sniffing maybe.

My opinion overall is a good multi-pattern condenser mic is the most useful of all recording mics and can be found for $150. Omni works well in many situations, cardioid in others. Figure 8 for M+S stereo. Onmi has no proximity effect and provides a very smooth recording if your studio allows for it.

 

[And I]

Sm58 over the Sm57 anyday.

the 57 and 58 are literally identical other than that the 58 has a windscreen.

 

[And I]

a 57 on a bass cab, when mixed with a DI signal, is a great option for most if not all situations. a 57 alone on a bass cab is right for some flavors / styles but not others. you will not get a "modern" sound with only a 57 in front of a bass cab. if you're not after a modern sound, it might be just what you're looking for. and it also kills on a guitar cab, a snare drum / hand percussion, toms, horns...

 

[JimmyM]

the 57 and 58 are literally identical other than that the 58 has a windscreen.

They are, but that windscreen makes a difference. I hear the 58 as being a little warmer on the bottom. I actually prefer the 58 for micing bass cabs. And acoustic guitar.

On the comparisons between a sm57 and sm58 Shure's own site says they are the same cartridge, xformer, etc, and differ only by grill.
What's the Difference Between the SM58 and the SM57?

I don't know if this has always been true in their long history. And there may be some years they differ more in cartridges.

The point is there is a lot of highly defined perceived differences. It may only be from sited tests. Cork sniffing maybe.

My opinion overall is a good multi-pattern condenser mic is the most useful of all recording mics and can be found for $150. Omni works well in many situations, cardioid in others. Figure 8 for M+S stereo. Onmi has no proximity effect and provides a very smooth recording if your studio allows for it.

Omni also picks up sounds you don't want. Good if you're in total isolation or if you want a lot of bleed, which is a legit choice. But I've found that bass cabs just aren't that picky. Get one with solid low end and fairly flat response and you're good.