bass amp microphones

[hbarcat]

Dynamic mics
ElectoVoice RE20 - Broadcast mic but excellent on bass
Sure SM-58 Beta - inexpensive workhorse mic
AKG D-112 - great for live but usually too colored for studio


For studio use, large diaphragm condenser mics are often preferred for their usually flatter and lower frequency response.


Condenser mics (just a sampling, there's plenty to choose from)
AKG C 214
Sennheiser MD 421 II
Audio Technica Pro 37
Rode NT1-A




Don't forget that a good preamp is at least as important to recorded sound as a good microphone.

 

[Nick Kay]

Audio Technica Pro 37

Really? I don't like the Pro 37 on electric instruments at all. It's great for acoustic guitars, drum overheads and room miking, especially when you're on a budget, but I find it far too delicate to really capture the snarl in bass and guitar cabs.

PS: The Senn MD421 is a dynamic, although the frequency response leads many to believe otherwise.

 

[fokof]

My favorite for anything , low frequency 'live" ; ATM-25

I prefer flat frequency mikes; RE20 , md421 , e906 etc.

I avoid scooped mids , kick drums mike like D112 , b52 , e902 , D6.
They already have an eq applied to it and I prefer eq'ing at the board......

 

[T-Bird]

Hi.

If You have the money and contacts, vintage MD421 (the white ones) and vintage AKG D12 are the best that I've used. Unfortunately my trusty D12 have developed a bit of distortion while on storage. I don't think that either one of those mics have repair kits available anymore .

The prices are a bit steep if available, but buy once, cry once.

What ever You buy, make sure that You have a secure place to store it. All good mics grow legs super fast .

Regards
Sam

 

[TimmyP]

Hi.

If You have the money and contacts, vintage MD421 (the white ones) and vintage AKG D12 are the best that I've used. Unfortunately my trusty D12 have developed a bit of distortion while on storage. I don't think that either one of those mics have repair kits available anymore .

The prices are a bit steep if available, but buy once, cry once.

What ever You buy, make sure that You have a secure place to store it. All good mics grow legs super fast .

Regards
Sam

While they may be good mics, I feel that it's folly to spend real money on a mic that is either unrepairable, or whose cost of repair is exorbitant (when last we were quoted, it was $225 to repair a late model 421 - we threw them in the trash).

 

[Mads]

(when last we were quoted, it was $225 to repair a late model 421 - we threw them in the trash).

I would have bought them for (almost) that price from you.

Those mics aren't that hard to fix, so I would have checked a few other places before throwing them out.

How many did you through away?

 

[TimmyP]

I would have bought them for (almost) that price from you.

Those mics aren't that hard to fix, so I would have checked a few other places before throwing them out.

How many did you throw away?

Two or three. That $225 was our cost as a dealer. We either said **** 'em, or bought new ones - I forget which.

 

[Beyer160]

If you're looking to get midrange "grunt" to color a DI signal, you'll probably want to avoid kick-specific mics since they have a scooped midrange, too. An SM57 will work, but it's got an upper mid spike that you or may not like (that's why it's popular for snare, guitars, and toms). Mics like the Beyer 201, M88 and EV RE20 are a lot flatter in response.

Does your band have a PA, or are you thinking about carrying your own mic for house PA guys to use? If it's your PA, ask your sound guy what he'd like to use. If you want to have one to use with house PA systems, I'd say not to bother and just use what the house guy has and is familiar with.

 

[anderbass]

The best live bass cab mic I've used is is a Sennheiser 441 u5 because I think it sounds better than any of my 421u5 (or the newer 421-II models) and its razor sharp Super-Hyper Cardioid pickup pattern really helps cut stage bleed from other loud sound sources on a tight stage. (of course they cost like $700/$800 new but I bought a nice used one for around $200)

the AKG D-112 is made to be used for kick drum but works great for bass.

Don't know for sure if this is true or not, but I ran across a older post on a highly regarded recording forum that stated the D-112 was originally designed and intended to be used as a double bass mic, and then went on to mainly be sold/used as a kick mic for that famous basket ball bounce on a wood court ("bow-ing") sound it always seems to produce on most any kick drum.

 

[T-Bird]

Hi.

While they may be good mics, I feel that it's folly to spend real money on a mic that is either unrepairable, or whose cost of repair is exorbitant (when last we were quoted, it was $225 to repair a late model 421 - we threw them in the trash).

. Well that didn't make my day. While it's true that the parts or the repair aren't feasible, I'd keep them as spares. Usually 3 has enough parts to make 1 .

As for the unrepairable mics, do You really know any low to mid priced mic that can be repaired for less than the cost of new? A SM58 for example: The capsule=110€, new mic=100€.

Don't know for sure if this is true or not, but I ran across a older post on a highly regarded recording forum that stated the D-112 was originally designed and intended to be used as a double bass mic, and then went on to mainly be sold/used as a kick mic for that famous basket ball bounce on a wood court ("bow-ing") sound it always seems to produce on most any kick drum.

I remember hearing that same story back in the late 90's. That is one super ugly looking mic though and I personally never used one for bass drum, only on saxophones occasionally. But then again we had two D12 mics and those were considered superior.


Regards
Sam

 

[sonic assassin]

yea, D12 and D112 are very different mics.

i went to a clinic sort of thing with eddie kramer and he made sure to clear that up.

its also apparently not a "kick" drum. its a "bloody bass drum... you dont KICK it"

hes a hell of a guy.