Best for mic'ing bass cab?

[Treena Foster]

You're describing the frequency response curve. My question is how is that related to the max SPL which the microphone will handle? I don't think they're related.

- Wil

Wil, your correct Sir and I post corrected. The frequency resonse has nothing to do with SPL.

The Shure SM57 is a cardioid pattern dynamic mic. The cardioid pattern does an excellent job of isolating the source from background noise. To my ears, the SM57 cuts off about 200 Hz, puts a bump at the high end of the mids, and cuts off again with frequencies over 12 kHz. In essence, it doesn't give you the bottom of the low end or much of the high end but gives you a sculpted sound that accentuates the top end of the mid frequencies.

The pop recording industry often prefers selected models of dynamic microphones for the pickup of closely spaced bass drums and bass guitar amplifiers. The reason is that the moving system of the dynamic can be designed to handle these high excursions with very high mechanical linearity.

The AKG Model D112 is a descendent of AKG’s earlier D12 dynamic microphone, widely known for its ability to handle high level signals from bass drums and bass guitars in the studio.

The microphone has been designed with a low resonance frequency and can handle very high transient signals with virtually unmeasurable distortion. High frequency response has been tailored to keep both bass drum and bass guitar clearly distinguishable in the mix.

I have and still do use both mic's in my studio and for live work. My experience (along with my ears) tells me that the D112 is better for recording my setup and about 95% of the basists that come to my studio. I trust the D112 and I know how to get good tones using this mic, again, just my experience. I also like to use a Sennheiser 421 on certain bass cabs, I record 1 track DI'd and a 2nd track mic'd, I then combine the two when mixing, so my approach is different then the actual topic question.

I do believe that the built in wind screen helps the D112 handle more SPL then a SM57, but then again you can always put a pop filter on the 57 to solve that problem.........

The SM57's and SM 58's are definately studio and live work horses, purchasing either of these mic's would be a wise choice for anyone out there looking for a good versatile, inexpensive, nail pounding mic!

You don't have to agree with my opinion, because that's all it is, an opinion (backed with 33 years of experience.)

I wish you the best of luck in whatever mic you use for live and/or studio work.

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Treena

 

[Munjibunga]

You don't have to agree with my opinion, because that's all it is, an opinion (backed with 33 years of experience.)

I wish you the best of luck in whatever mic you use for live and/or studio work.

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Treena

Well, Treena, I'm going to have to go against the grain here and agree with you.

(This, in lieu of the occasionally despised +1.)

 

[nonsqtr]

Yeah, an interesting thing about the '57 is that the rolloff that starts around 200 Hz is linear (well, relative to the log dB scale, which also means relative to most EQ's). That's an excellent feature, 'cause it works really well with the "shelving" type equalizers that are commonly found on small mixers. With a '57, all you typically have to do is boost the bass control on the board a little bit, to recover all of the fatness in the original sound. It works really well with a four string, maybe not so well with a five (note that the graph that Treena posted "stops" at 40 Hz, they're not showing us what happens below that, probably 'cause it's pretty ugly).

 

[nicoli]

Another option that I've found to work really well is using an SM57 blended with a better mic for low end pickup (in my case it was a Beta52). You get the lows from the 52 and a lot of punch and higher clarity from the 57.

On their own, I really like the D112, and I find AKG 414 mics always sound really smooth and warm for bass. I'd prefer either of those over the RE20.

 

[natrab]

I like the SM57 for highs (I put it on the upper half of my 1516 aimed between the 10 and two sixes) and then use the DI on my amp for the lows. You won't get better lows than direct out.

 

[wwittman]

Live (i'm in the Cyndi Lauper band) the FOH engineer has been using an AT-25 on my cab recently. (mic'ing one 12 in my Vox Sovereign 4x12 or sometimes the single 18 in my Vox Foundation).
It sounds really good out in the house, partly because it controls the bottom well.

In the studio however (i'm also a long time producer/engineer), I tend to use one of two mics and for me they are fairly interchangable.
either the Electro Voice RE20 or the Shure SM-7 (NOT SM-57)

both of these have good solid bottom but with clear agressive top end. and both handle level without problem. They are, not coincidentally, my favourite choices for bass drum as well.
AND using the same mic on bass guitar and bass drum helps them work together.

I don't find that 57's or 421s or most mics that people tend to use (often because it's all they HAVE) work well for bass guitar.
Partly this is becasue i don't like direct inject much.. and i want a mic that gets the ENTIRE bass sound from the amp.
I don't mix in DI to make up for the bottom the mic is missing.

 

[jeff schmidt]

RE20.

DI is great - but if your tone is dependent on the sound of your cabs - mix in the mic.

 

[jtauban]

RE 20
beta 57
or direct in
according to the track... and the recording situation

The RE 20 is just a fantastic mic. I've also occasionnaly used it for djembe, acoustic guitar (!), even voice (excellent on a woman vocalist who had quite a strident voice: lots of sibilants, it gave a fat tone, warm, tube like)

Just get the best mic you can afford, or wait a little to get a really good one that you'll still use and love in 10 years.