Would like to record my next project by recording the sound coming out of my amp. Was wondering what mics yall think are best for recording bass. Thanks
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Best microphone for recording bass
- Thread starter GodPlayedBass
- Start date
There's just one question...how much money do you want to spend on a microphone?
For the price it'd be hard to beat a Telefunken M82, imo.
That being said, I'd prefer a tube DI (REDDI, Solo 610, etc.).
Edited to add link: M82 - Telefunken Elektroakustik
That being said, I'd prefer a tube DI (REDDI, Solo 610, etc.).
Edited to add link: M82 - Telefunken Elektroakustik
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hey OP, don't want to be that guy, but this question has been asked and answered a lot on Talkbass over the years.
Here's a start for you: https://www.talkbass.com/threads/what-microphone-for-bass-cab-recording.1675527/
Here's a start for you: https://www.talkbass.com/threads/what-microphone-for-bass-cab-recording.1675527/
The Electro-Voice RE-20 has been a studio standard for mic’ing bass amps for decades. It’s an excellent choice (and my personal favorite).
The Sure SM-7b is another very popular choice and also sounds great. The SM-7b is what I used last time I recorded a record (because the studio didn’t have an RE-20 available) and it sounded really good.
Other dynamics that sound good on bass amps are the Sennheiser 421, the Beyer 88 and the good, old-fashioned Sure SM-57.
I’m not a huge fan of using condenser mics on bass amps but I’ve gotten good results from the inexpensive Röde N1 and from AKG 414s. Once you get into the realm of really good vocal condensers I think you’re probably using more mic than you need for the job. Sure, they sound great, but I doubt you’d be reaping the benefits of such fine microphones; even the best bass amp will not have the kind of subtleties that great vocal microphones are designed to pick up. Even the 414 is completely overkill.
I also don’t advocate using kick drum microphones on bass amps. In fact, I don’t even like kick drum microphones on kick drums!
The Sure SM-7b is another very popular choice and also sounds great. The SM-7b is what I used last time I recorded a record (because the studio didn’t have an RE-20 available) and it sounded really good.
Other dynamics that sound good on bass amps are the Sennheiser 421, the Beyer 88 and the good, old-fashioned Sure SM-57.
I’m not a huge fan of using condenser mics on bass amps but I’ve gotten good results from the inexpensive Röde N1 and from AKG 414s. Once you get into the realm of really good vocal condensers I think you’re probably using more mic than you need for the job. Sure, they sound great, but I doubt you’d be reaping the benefits of such fine microphones; even the best bass amp will not have the kind of subtleties that great vocal microphones are designed to pick up. Even the 414 is completely overkill.
I also don’t advocate using kick drum microphones on bass amps. In fact, I don’t even like kick drum microphones on kick drums!
Turnaround
Commercial User
I rather like the Beyerdynamic M160, though I have to admit that Warm Audio WA44 does captuture more subtleties.
This TB'er definitely knows something about micing bass cabs. I feel that all the fancy condensers and possibly ribbons that people have been and will be suggesting in true TB fashion can be good as room mics but I would never put them close to the cabs,
If you know what you are doing, even pedestrian mics will give good results. You do need a direct recording whatever you decide
Yep. I'll even take it one stage further. Ive had great results with a Samson GoMic cause its all I had at the time. . In other words any quality equipment will do.
I use the SM7b if I mic my bass cabinet, it’s great for capturing low frequency sources, it’s also got really good rejection from the back and sides, cuts down the bleed when using it live. The eq dip switches really come in handy to cut off rumble and boost presence.
It actually works so well at that when tracking live band practices I use it as the kick drum microphone and use my Ampeg SGT DI to capture my bass.
It barely picks up the bass and guitar amps in the room
It actually works so well at that when tracking live band practices I use it as the kick drum microphone and use my Ampeg SGT DI to capture my bass.
It barely picks up the bass and guitar amps in the room
The answer always comes back to a Shure SM57/SM58 as the cheapest option with a disclaimer that it may not capture the lows ?
The other 2 microphones ? AKG D112 & Shure Beta 52A, also are dynamic mics that are also used to mic kick drums, that are even used inside a kick drum. I can't imagine any of the 4 mics suggested as being appreciably deficient to mic a bass guitar cab. I'd go so far as to say the clones of these mics are every bit as good as the Bog Brand names, so there's a $ 20 SM57-alike out there that can do a $ 100 SM57 price point. And there's a set of Pyle PDKM7's as a 7 piece drum mic set that come with a case if one has to buy beyond the $ 100 SM57 that are perfectly fine for bass cab micing.
The other 2 microphones ? AKG D112 & Shure Beta 52A, also are dynamic mics that are also used to mic kick drums, that are even used inside a kick drum. I can't imagine any of the 4 mics suggested as being appreciably deficient to mic a bass guitar cab. I'd go so far as to say the clones of these mics are every bit as good as the Bog Brand names, so there's a $ 20 SM57-alike out there that can do a $ 100 SM57 price point. And there's a set of Pyle PDKM7's as a 7 piece drum mic set that come with a case if one has to buy beyond the $ 100 SM57 that are perfectly fine for bass cab micing.
Just ordered an Audix D4. I'm not done experimenting with placement, but so far I love what I'm getting with it.
I used to use a Sennheiser 421 in the late 90's, loved that mic. Unfortunately, the new one (MKII) doesn't sound anything like the original, it's awful, and to top it off it is expensive for what it is.
But typically I would record both a DI and cab, and mix both to taste.
With that said, recording a bass cab with a mic is extremely time consuming. Not only do you have the regular variables like EQ, gain and level, but you add mic placement in the equation. why most studios do not do it, they just record DI and call it good enough. Or they have a formula, like this amp+this cab+this mic placed in that precise spot. I do it because I have the time and I enjoy the process, but it is not time efficient and, if I'm being honest, the benefice are... slim at best.
I used to use a Sennheiser 421 in the late 90's, loved that mic. Unfortunately, the new one (MKII) doesn't sound anything like the original, it's awful, and to top it off it is expensive for what it is.
But typically I would record both a DI and cab, and mix both to taste.
With that said, recording a bass cab with a mic is extremely time consuming. Not only do you have the regular variables like EQ, gain and level, but you add mic placement in the equation. why most studios do not do it, they just record DI and call it good enough. Or they have a formula, like this amp+this cab+this mic placed in that precise spot. I do it because I have the time and I enjoy the process, but it is not time efficient and, if I'm being honest, the benefice are... slim at best.
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I don’t really mic up cabs often anymore, but when I do I’m using a Royer R10 through some sort of phantom powered gain boost like a cloudlifter. I would mount it on a slanted angle though because you don’t want it perfectly flat parallel to the speaker with a ribbon.
FullumMusic
Commercial User
- Oct 13, 2022
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Any time "what's the best for..." gets asked for anything music, the answer is always "it depends" and "there is no best; only different."
And it really does depend on so many things, and there really is no best. Different mics sound different and capture different things in different ways for different situations depending on how you use them.
When you say you want to record the sound coming out of your amp, that's all well and good, but by adding a microphone to the signal chain, you're not just capturing the sound of your amp. You're recording the sound of your amp + the sound of the mic + the sound of your mic placement + the sound of the mic pre + the sound of the room.
And just buying the "Best" mic (aka "incredibly expensive") mics doesn't mean it'll sound better.
- When you start getting into incredibly high-end mics, now you get into the territory where they won't sound great without a specifically dedicated mic pre, designed to be and calibrated to be paired with the mic. For example, a $3000 mic might not sound much "better" than a $1000 if it's not paired with its $3000 calibrated mic pre.
- More accurate mics don't necessarily sound better in a musical recording. No need to spend $1000 on a mic if a $200 sounds good for your situation.
- Mic placement is as important to mic selection.
- If you know what you're doing you can get a great bass guitar recording with any thing from an SM57 to a C414 to a vintage U87. Again, it just depends on what you're going for and how you use them.
So, really, just google the top 10 Bass Guitar or Kick drum mics, pick one in your price range whose description sounds like it'll suit your needs, and you'll be fine. Any one will sound great if you learn how it sounds and learn the best way to use it in different situations.
The only suggestion i'd make beyond that is, opt for a Dynamic mic, not a Condenser, and not a Ribbon mic. It'll be the most versatile for bass at all volumes.
And it really does depend on so many things, and there really is no best. Different mics sound different and capture different things in different ways for different situations depending on how you use them.
When you say you want to record the sound coming out of your amp, that's all well and good, but by adding a microphone to the signal chain, you're not just capturing the sound of your amp. You're recording the sound of your amp + the sound of the mic + the sound of your mic placement + the sound of the mic pre + the sound of the room.
And just buying the "Best" mic (aka "incredibly expensive") mics doesn't mean it'll sound better.
- When you start getting into incredibly high-end mics, now you get into the territory where they won't sound great without a specifically dedicated mic pre, designed to be and calibrated to be paired with the mic. For example, a $3000 mic might not sound much "better" than a $1000 if it's not paired with its $3000 calibrated mic pre.
- More accurate mics don't necessarily sound better in a musical recording. No need to spend $1000 on a mic if a $200 sounds good for your situation.
- Mic placement is as important to mic selection.
- If you know what you're doing you can get a great bass guitar recording with any thing from an SM57 to a C414 to a vintage U87. Again, it just depends on what you're going for and how you use them.
So, really, just google the top 10 Bass Guitar or Kick drum mics, pick one in your price range whose description sounds like it'll suit your needs, and you'll be fine. Any one will sound great if you learn how it sounds and learn the best way to use it in different situations.
The only suggestion i'd make beyond that is, opt for a Dynamic mic, not a Condenser, and not a Ribbon mic. It'll be the most versatile for bass at all volumes.
By “kick drum microphones”, I was referring as mics that are marketed specifically for that use. The RE-20 is an excellent kick drum microphone but it’s marketed as a broadcast vocal mic.
Just answering as to what mic's I have used in the last year or so:
Peavey 520i
Shure SM7b
EV RE 320
Senn 421II
Twinfinity
WA67
I would never hesitate to use the EV or Senn, and my current fave is the Warm Audio.
Peavey 520i
Shure SM7b
EV RE 320
Senn 421II
Twinfinity
WA67
I would never hesitate to use the EV or Senn, and my current fave is the Warm Audio.
I think I saw them on a sidestage at Coachella but my memory of that day is kinda hazy
