Double Bass Cheap mic for home recording : need suggestions.

[Inconnu]

Hi!
Playing music as been a serious hobby for me in the past years (no regular gigs, just playing for fun on my own and with a band) and I’m mostly an electric bass player.

Over the years, I gather gear for home recording. Lately, I’ve been having ideas with my upright bass and I would like to record it more efficiently. So far I’ve been using a Shure SM57 to mic the bass and the sound can be OK, but I find myself taking too much time finding the right height and angle to get a decent sound.

I’m looking for suggestions on a better way to mic my bass. I was thinking perhaps a clip-on microphone I could clip on the bridge or a string ball, maybe, that would stay in place between sessions and make me save time. Being an hobbyist, I’m on a budget and aiming for under $200.

Any ideas? I’m only looking for something that would sound a bit better than the SM57.

 

[Co.]

For the price, the Line Audio CM4 are hard to beat.

 

[LaFaro01]

For the price, the Line Audio CM4 are hard to beat.

However, you must bear in mind that the CM 4 requires phantom power...

 

[Piper Bob]

I leave a mic on a stand all the time.

Try this first: see if you can get a good recording with an iPhone. If you can’t, then the problem is almost certainly the acoustics of your room.

If the iPhone works well, you can get a marginal improvement over that with a CAD M179 or an SM81. The very best mics will give a marginal improvement over those.

 

[AGCurry]

...the sound can be OK, but I find myself taking too much time finding the right height and angle to get a decent sound.

This will be true for ANY microphone, especially directional ones. Three things are more important than the choice of microphone: The sound source itself, mic placement, and the room.

Also important is the overall end product you want to achieve. If it's something in which the bass will be featured, you want more fidelity, to be able to recognize small nuances in sound. If it's something in which the bass is just a supporting instrument, you can take less care.

Directional mics which are attached to the bass are very useful for live performance, as they're close to the source and allow you to move. But they can present a challenge in getting the whole sound of the bass, which is developed over a large area. AND those mics are unlikely to be found within your budget. Professional studios almost always simply put a nice mic on a floor stand.

One idea for a budget solution which can give good results (in a decent room) is an omnidirectional boundary mic, like the Audio Technica U841a. Attach it to a wall or sheet of plywood, and you're good to go. You can pick one up on eBay for less than $100. If you get the little battery-powered interface box that goes with it, you don't need external phantom power.

 

[Don Hergert]

Is this for recording only your double bass? If so, try wrapping the SM57 in a (clean, dry) washcloth or hand towel and then slipping it under your tailpiece. Then it becomes a dynamic contact mic as well as a dynamic cardioid pattern mic. You might like that sound better.

If you're recording more than only your double bass concurrently, the Audix OM2 makes a nice, relatively inexpensive general purpose stand mic.

 

[Ric Vice]

I have a pair of Line Audio CM 3’s and a pair of Line Audio CM 4’s one single CM 4 will serve your needs well.

 

[Jay Corwin]

MXL R144 ribon mic.

I used a cloud lifter with mine. Depending on your interface/preamp, you might need something like that to get the most out of it.

 

[DoubleMIDI]

MXL R144 ribon mic.

I used a cloud lifter with mine. Depending on your interface/preamp, you might need something like that to get the most out of it.

But not for 200 bucks.
And since ribbon mics are sensitive to shock I won‘t recommend one for someone who usually works with dynamic mics that could be thrown around without noticeable damage.

It depends on the room and if you record the bass isolated (track by track) if an omni or a (hyper)cardioid serves you best. Omnis have the best sound and are independent from distance to the sound source. (Hyper)cardioids can remove a bit of the room sound, but boost the bass as they get closer to the sound source.

Position and distance is important and stay a bit away from the f-holes. Too close and you only get the sound at that point that might not represent the sound of your instrument as a listener hears it at a larger distance.

If your SM57 picks up too much room sound, get closer with the mic, change for a higher damped room (if possible) or consider a contact mic placed on the top of the bass. It might be even more difficult to find a good spot for a realistic sound, but there are a few places that typically work well. But contact mics typically only work well with carved tops.
I like the AKG C411 (I have an old version of it). It has more air than the Ehrlund EAP. The Ischell needs to be mounted airtight (and might be beyond your budget) but has also more highs than the Ehrlund.

A microphone shield might be an option for an air mic too, maybe to use an omni for sound with some room isolation, but even with that you get just a bit less room sound.

Don‘t forget that even directional mics pick up reflections of the room sound from the top.

So check the SM57 behind the tailpiece, typically used on stage for FOH, consider a CM4 mounted on the bass or a Audio Technica AT2020, a Studio Projects B1 (probably discontinued) or a Studio Electronics X1A mounted on a stand in front of the instrument.

But all these mics are condensers that need phantom power which hopefully your audio interface can provide.

They also easily pick up high frequencies from around, so if you want to record several instruments playing at the same time, but isolated on several tracks, I strongly recommend a contact mic or pickup.

Maybe a mic closely pointed at the top like the ATM350 (above your budget) a Remic Red (also over your budget) or a small diaphragm condenser like the Oktava MK-012 with an omni or/and hypercardioid capsule or the CM4 with a clamp or underlength/bridge feet rubber band mount.

But first experiment with what you already have.
The condensers give you more high frequency content („air“), but the room reflections might be similar or even stronger. Closer means more direct instrument and less room further away more room less direct instrument.
So check distance first (with a mic on a stand), then position over the top and the direction pointing to the top.

If I should recommend two really good and cheap mics the CM4 and the AT2020 would be the ones. You might find at least the AT used even cheaper.

 

[Sam Reese]

Shure 57 works pretty good as Don Hergert described. Shure Beta 57 works better. The MXL R144 can overwhelm the low end if you're not careful, but can work decent with extreme care. The CAD M179 is clean and fast and has continuously variable pickup pattern which opens up opprtunities. The "easy button" today would be to pick up a Beta57 from GC on sale for $119 and wrap the Beta57 in something and mount it under your tailpiece. You can leave it mounted and ready to go for when inspiration comes your way!

 

[djmay]

If you would consider an easy to use pickup, this is an option Bass Max Upright Bass Pickup

 

[Chris Fitzgerald]

I find that recording is like playing or any other skill: after a certain point, it’s more about the skill than the gear. For the best possible quality, I prefer a Line Audio CM3 or CM4, but those are hard to source and you can get really good quality from anything from a Shure Beta 57 upward. It’s more about understanding where to place the mic, how to set the level, and how to minimize unwanted room reflections.

For instance, this was recorded with a Beta 57 into a Zoom recorder with the mic about a foot in front of the bridge in a boxy sounding room. Because the Beta 57 is a hyper cardioid, it rejects a lot of unwanted reflections.

 

[Inconnu]

Thanks all!
Ok, I’ll experiment more with the SM57 rather than spending money on new gear, makes sense. Reading your replies, I realize that the room and where I typically project the sound of the bass in the room might be the main issue here. I’m on vacation, so I’ve got plenty of time to work on that.

Thanks for keeping money in my pocket!

 

[Ketbass]

For instance, this was recorded with a Beta 57 into a Zoom recorder with the mic about a foot in front of the bridge in a boxy sounding room. Because the Beta 57 is a hyper cardioid, it rejects a lot of unwanted reflections.

Honestly, just recording into the Zoom(or other decent brand)recorder with the built-in mics is pretty exceptional. I’m using an older Z4 my brother wasn’t using for shooting video anymore, so sent it along to me. You can pick these up used pretty cheap. Like Chris said, it is a matter of the recording skills, room acoustic and absolutely where to place the height of the mic and how far away from the source it is. Field recorders are pretty great for other things too, like recording rehearsals with a group you might be in or an anything really. They have great clarity and sound and make for great demos to send along to folks too.

 

[JBarz]

Dude, I got you on this one.

I went way farther down the microphone rabbit hole than I should have a decade or so ago. This guy makes crazy high quality mic kits that can’t be beat in terms of price/value.

Microphone-Parts.com

We offer large-diaphragm condenser microphone capsules, circuit upgrade kits, DIY microphone projects, and related audio parts.

microphone-parts.com

It’s like adult legos, very satisfying.

 

[Ostie]

This will be true for ANY microphone, especially directional ones. Three things are more important than the choice of microphone: The sound source itself, mic placement, and the room.

Also important is the overall end product you want to achieve. If it's something in which the bass will be featured, you want more fidelity, to be able to recognize small nuances in sound. If it's something in which the bass is just a supporting instrument, you can take less care.

Directional mics which are attached to the bass are very useful for live performance, as they're close to the source and allow you to move. But they can present a challenge in getting the whole sound of the bass, which is developed over a large area. AND those mics are unlikely to be found within your budget. Professional studios almost always simply put a nice mic on a floor stand.

One idea for a budget solution which can give good results (in a decent room) is an omnidirectional boundary mic, like the Audio Technica U841a. Attach it to a wall or sheet of plywood, and you're good to go. You can pick one up on eBay for less than $100. If you get the little battery-powered interface box that goes with it, you don't need external phantom power.

This is so true. When I started gigging on acoustic mandolin, I learned two things: 1) No piezo pickup sounds as good as an average mic, and 2) the sweet spot for the mic is elusive. This is especially true for live situations when you like to move around while you play, as I do. I hated being locked into the sweet spot, so I compromised and installed piezo pickups on two of my mandos. Piezos have come along way since the older ones that would quack like a duck, especially if you use a good matching preamp.

Then there’s the traditional Bluegrass miking method of standing in a circle around a good condenser mic and leaning into it when it’s your turn to solo, which is practically impossible for DB. I could never get my guitar players to embrace this and we don’t have a DB player, EB only. So I use my piezos and EQ the quack out of them.

 

[Jeff Hughes]

Try a condenser mic and a dynamic mic. Two mics is more setup, but that will give you the best options for mixing.

You could probably find the sweet spot for a condenser if you have someone play your bass and then move your head around the room until it sounds good.

The CAD mics are a good value. I have used the cheap CAD bass drum mic for many gigs and recordings.

 

[Jmilitsc]

OP, it’s tough to tell what you’re after from your post - ease of setup or quality? What kind of sound (and improvement) are you looking for? The room and placement certainly makes a difference as others have suggested.

I got a pair of 103’s and a pair of 87’s from this guy GTZ Audio. Dirt cheap and they sound excellent on the double bass. I have used them to record my community orchestra too. Their construction is not rugged, and the cheap ones are only cardiod pattern, you have to pay more for the selectors, so bear that in mind.

Good luck!

 

[ole Jason]

The Beta 57 is a great choice and a great mic to have around in general. You'll think I'm nuts but I've had great results on my bass using a Sennheiser E609. It's the complete wrong use case for that mic but I've been really happy with the results I've gotten with it.

 

[erratick]

The Beta 57 is a great choice and a great mic to have around in general. You'll think I'm nuts but I've had great results on my bass using a Sennheiser E609. It's the complete wrong use case for that mic but I've been really happy with the results I've gotten with it.

Funny that you mention the E609. I find them sometimes about the same as a sure SM57, except logistics. However the logistics mean you can get them into spots where an SM57 is not able to go easily. So sometimes they just sound way better because of the positioning.

They are also cheap, cheerful and sound great.

Here is my heretical micing opinion:

If you are recording acoustic bass for recording I really like the Rode M5 or slightly better the SE7 small condenser mics. These need phantom power. You just need one if you're going to mic close-ish.

Not sure I would do that live, because people move around. For live a mic with a clip or a pickup might be easier.

But if you're recording a band that sounds good acoustically- get a matched pair and a stereo mount bar. Mount the mics in a stereo ORTF pattern and move that mount around until you get a sound you like.

It can really give you a stereo "I was in the room" sound.