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Best cab for a studio?
- Thread starter bchamorro
- Start date
Very true, unless you got two Behringer 810s for only $200 like I did!
They were downsizing their warehouse here in Seattle and were planning on giving two hundred of them to local churches. The churches refused them because they were to loud and the poor warehouse guy turned desperate, heheheheh!
Not that great quality, but for two hundred dollars, I think you'll agree that it was more than worth it.
Considering you're only going to be micing one, maybe two speakers, it really doesn't matter. They're all capable of the same tonal range.
- Aug 25, 2007
- 835
- 6
- Disclosures
- I manufacture for several companies including but not limited to: Bridge City Sound, Catalinbread, more.
if your gonna mic it, mic it from like 10 feet away if you want the entire tone of the damn thing. other wise you will use a total of 1 speaker and 1 direct out from the amp like i did.
I voted for the 410. I have a 410 and a 212 in our studio right now. It's my gig rig but I needed somewhere to store it so I stuck it in the studio. If we're recording I usually don't even use the 212, just the 410, and run my amp at 8 ohms. I use it as a monitor only and since we're getting some new head phones out there I probably won't even need my amp at all here soon.
Mic a 15 and be done with it. It's true, if only 1 mic is being used, anything with more speakers is a waste.
Yup, next time I go into the studio to do our album I'm gonna try and convince the producer that it's a good idea to mic up a 15, 10 and my 6.5 inch tweeter AND use my post-DI (should have all of them by the time I'm in) so he has lots to mess about with for different songs.
Might be quite a long shot but he does like to use plenty of mics, think he used at least 14 or something on the drums last time, one of which was down the corridor outside the drum room. We did ask for a roomy drum sound
Might be quite a long shot but he does like to use plenty of mics, think he used at least 14 or something on the drums last time, one of which was down the corridor outside the drum room. We did ask for a roomy drum sound
No, you failed to provide sufficient information for an informed response.
What kind of music?
What kind of bass(es)?
What kind of amplification and preamplification?
Are you also going direct?
What is your playing style?
What kind of microphone is available?
What other instruments/drums are being separately miked and which are going direct?
What kind of tone are seeking for the recording?
Are you using any compression or effects? If so, are they being added in the booth or in your signal chain?
It's a matrix or a formula, not a simple addition or subtraction problem.
Bluesy Soul
Wow, and he thought we were overthinking it before!No, you failed to provide sufficient information for an informed response.
What kind of music?
What kind of bass(es)?
What kind of amplification and preamplification?
Are you also going direct?
What is your playing style?
What kind of microphone is available?
What other instruments/drums are being separately miked and which are going direct?
What kind of tone are seeking for the recording?
Are you using any compression or effects? If so, are they being added in the booth or in your signal chain?
It's a matrix or a formula, not a simple addition or subtraction problem.
Bluesy Soul
In order to get a good mic'ed cab sound, the most important thing is a good mic'ed cab. All the rest of that takes care of itself if you start with a good source. You don't need to make it a matrix to decide on a cab. You just need to use a cab you like. Doesn't matter what it is.
