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Amp micing?

Discussion in 'Recording Gear and Equipment [BG]' started by bryan bailey, Mar 29, 2003.

  1. To do this, would I need to get a bass drum mic or what. Cause I know they don't handle really up in the hz's, to get the highs would I mic my tweeter or mid driver speaker or something. I still have yet to play at a place where I would need to mic my amp.....yet
  2. crud19


    Sep 26, 2001
    It depends upon the sound you are looking for. If you are not a low-end monger you can get away with a well placed SM-57. If you do require a good deal of low, a Shure Beta-52 works very well, as does an AKG D112. Beware your midrange with these mics, though, as they tend to pull a little out. You may have to compensate with the EQ on your amp or the board.
  3. For recording stick to a good bass drum mic like a D112. The SM57 just doesn't go low enough to be useful for bass. Play with mic placement to see what yields the best results tonewise. You can also run a direct signal in conjuction with the miced signal and season to taste.

    For gigs the same rules apply but depending on the venue/soundman you may have no choice. He'll either throw a DI at you or mic your rig.

    My $.02
  4. rockbassist1087

    rockbassist1087 Guest

    Nov 29, 2002
    Long Island, NY
    A bass drum mic would work or any mics designed to pickup low frequencies. Personally, I go direct when I record.
  5. I've had very good luck with the AKG D112. It does a great capturing my tone.
  6. Munjibunga

    Munjibunga Total Hyper-Elite Member Gold Supporting Member

    May 6, 2000
    San Diego (when not at Groom Lake)
    Independent Contractor to Bass San Diego
    Use a Rode NT3. 20hz - 20khz. High SPL capability. Requires phantom power, but has an internal battery if your board doesn't supply it. You may need to roll off the highs a little bit.

    In general, I would not use a kick drum mic for miking a bass cab. The mics aren't typically designed to carry the overtones of a musical instrument (as opposed to percussion). By using a good quality condenser mic, you get a much better replication of the lowest lows, plus all the overtones that make your tone what it is.

    Take it or leave it.
  7. Razor


    Sep 22, 2002
    Yep...what Munji said.
    Get a decent condenser mic (150-200 bucks) and stay away from dynamic mics. If you have a lot of low freq's the dynamic mics tend to get overpowered.
    The few times I have recorded I have used 3-4 inputs on the board. 1 mic'ed, 1 direct from my preamp, and 1 direct from my Sansamp on the floor. A good sound guy can blend all of them for a killer tone.
  8. IMO a large diaphragm condenser is not necessarily the best idea for *live* miking of a bass rig, which I think was what the original poster was asking about. Aside from the issue of gigworthy construction, those types of mikes are often too sensitive for stage use and tend to pick up too much other stuff. Recording is another question.

    Live, i'd either go direct, possibly with the help of something like a Sans Amp Bass Driver DI if I wanted a certain kind of tone, or else use dynamic mikes that are sturdy and have a better bass response than a 57. A Sennheiser MD421 or 441 or an E-V RE-20 might be good.
  9. EIK


    May 12, 2003

    What about in the studio?

    Bassdrum mics "suck"?, Dynamics "suck"? I'm confused....
  10. You could use a condenser on an amp in the studio, as long as you're not overloading it. I have a CAD Equitek E-200 that I've used successfully on ABG. Never tried it on an amp, but I bet it would work fine. And don't get the idea that studios only use condensers. Most good studios have some good dynamics around too. The Sennheiser MD421 and the E-V RE-20 are pro level mikes by almost anyone's measure.

    Personally, I usually prefer to go direct in the studio, either straight or via a bass POD. If i wanted to try miking an amp, i'd ask the engineer to put up several mikes, condenser and dynamic, and just go with the one that worked best. Which might not be the most expensive one. For example, John Lennon could have sung through any mike in the world, but he often preferred a Shure SM58--a $100 dynamic.
  11. 4Mal

    4Mal Supporting Member

    Jun 2, 2002
    Columbia River Gorge
    in the studio... Live it's a waste of time. Use a bass monitor, go direct and let the sound-guy do his job ...

    In the studio Sennheiser 421 and the RE-20 do an awsome job on a cab. Neuman TLM103 does as well. The direct line gives you the punch and the cab gives you some *air*. One of my fav setups is a SilverFace Bassman (the plain vanilla 50 watter) driving a 1x15, theil with JBL. Kind of a B-15ish sounding rig on it's own, mix in a bit of the direct and it get's sweet. Those aren't cheap mic's though. A used 421 would be the best bet as a TLM is $500 plus in the used market and a vintage RE20 is just about un-touchable price wise.
  12. brianrost

    brianrost Gold Supporting Member

    Apr 26, 2000
    Boston, Taxachusetts
    "Bass dum mikes" don't usually have any better low end response than other dynamic mikes. What they DO have is bigger diaphragms and venting to deal with the large amount of air that will be moving past the mike.

    Most have a midrange peak to emphasize the sound of the beater on the drum head (what really makes the kick audible) which may or may not be a good coloration for a miked bass cab.
  13. Munjibunga

    Munjibunga Total Hyper-Elite Member Gold Supporting Member

    May 6, 2000
    San Diego (when not at Groom Lake)
    Independent Contractor to Bass San Diego
    Well, OK, but the NT-3 is not a large-diaphragm mic. Also, many large-diaphragm mics have an attenuator switch that can be used if the SPL is too high. I agree that they are susceptible to ambient noise.
  14. True, I was thinking of the NT-1. Actually the NT-3, with a 0.75" diaphragm, is sort of a weird size, halfway between small diaphragm (~0.5") and what's commonly thought of as large diaphragm (1" and up). Maybe it's kind of a medium diaphragm?

    The SPL shouldn't be a problem with most condensers out there now. I'd be more concerned, as I said, with ruggedness in a live setting. There's a reason even big sound companies typically don't use a lot of condensers except on high hats and drum overheads. Again, with recording it's a whole different ball game.
  15. cassanova


    Sep 4, 2000
    I use a Shure sm-48 to mic mine. it does the job just fine imo
  16. int


    Jan 21, 2002
    Phoenix, AZ
    I know I'm late in posting this, but:

    I have a love/hate relationship with my D112, but It's the first thing I grab whne I mic a bass rig. Regardless, I also always get a direct channel.

    I prefer dynamics for a lot of reasons, but every once in a while my Shure KSM 32 works really well. If the D112 doesn't work I've got a Sennheiser 845, a Shure Beta 57 and SM 58, as well as a few other cheaper mics. Most times the D112 works though.

    I'll have to post this project we're working on when I'm done so you guys can hear the results...
  17. Munjibunga

    Munjibunga Total Hyper-Elite Member Gold Supporting Member

    May 6, 2000
    San Diego (when not at Groom Lake)
    Independent Contractor to Bass San Diego
    Well, you could try one of these.

  18. 4Mal

    4Mal Supporting Member

    Jun 2, 2002
    Columbia River Gorge
    How do you like the Rode NT-1 ? and when do you reach for it most ? I have a line on a couple at a ridiculous price, but then again I don't want to add mic's without getting some other coloration ...
  19. Munjibunga

    Munjibunga Total Hyper-Elite Member Gold Supporting Member

    May 6, 2000
    San Diego (when not at Groom Lake)
    Independent Contractor to Bass San Diego
    The NT-1 works bitchen as an overhead for a drum kit. I've also used it as a vocal mic, and it sounds excellent ... but it needs some roll-off on the highs. A foamy over it also serves the same purpose. Rode has recently upgraded the NT-1 both cosmetically and sonically. "They" say it sounds even better than the early ones. I got mine free at GC when I bought an Alesis xt-20. It's worth at least that, or even the $150 you can find them for. Seriously, if you can get them cheap, buy them. They're surprisingly good.

    FWIW, the standard SM-58 in the case has been replaced by a Rode NT-3. It's a great vocal mike but, again, is a bit sensitive on the high end. Nothing a little EQ can't fix.

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