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Good microphone for recording bass cab?

#123
teleharmonium said:
at 10K, 2.5 db is absolutely a big boost. That is a high frequency to be having any kind of boost; particularly for a bass instrument which isn't going to be giving you anything good above 5 to 6 K.
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I dunno, thats an area where I'm often not too bothered about any kind of boost. Its far enough away from the useable range of most sources that it'll just give a tiny bit of air if anything. if it was being used on something with some kind of 10k buisiness then thats when I'd start to consider what it would do to the sound, untill then I don't really consider it as a feature of the mic. I have a beyer 740 with a near enough 6db boost in that area and it works fine for bass. For vocals etc I'm a little more wary of using it because thats when it brings up throat noise etc.


teleharmonium said:
Sure it is. A presence boost in the usual ballpark of 5K, as in either of these mics, is functionally equivalent, relative to using either mic on an instrument that lives in the lows and mids.

And I would point out that the peak in the 57 is considerably wider, extending down to more or less the same place where the presence peak gets steep in the 137; it's higher in db and extends to a higher range, but they do overlap in much of that area.
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A low q 6.5k boost will sound very different to a higher q 3.8k boost on an overdriven sort of bass sound, and will sound even more different on guitar cabs, drums etc. Thats a dangerous and very important area and you can't lump 3.8 in the same category as 6.5 as 'roughly a 5k prescence boost'. Put a notch in an eq and compare 3.8 to 6.5 and they will have VERY different functional sounds! Though granted, that will be less of an issue for most clean bass sounds.

Love the tunes in your sig! :)
 
#125
Nephilymbass said:
here are some examples from my experiences

This is a regular cheap shure 58 (not the beta) on a peavey 810
YouTube - Nephilym Save Yourself

Heres the same regular shure 58 on an ampeg 810
YouTube - Nephilym Another Day

This is an unmastered demo with Tech 21 RBI direct out
YouTube - nephilymbass1's Channel
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1: No balls, no growl, just a low honk.

2: No note definition - a roar and a little twank. Does not work in the track at all.

3: Similar to #2 - does not work.


3:
 
#129
what about either of these. I have the f14 for home stuff and i think it works. It's discontinued though so it might be hard to find. Either way the freq. charts seem to show what you need and they are not very expensive.
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#131
Charling said:
There'll still be a lot of stuff below the fundamental in most cases!...
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yeah . . . that's usually called "noise" . . . we engineer types usually put a high-pass filter on the channel to MINIMIZE the "noise" . . .
Charling said:
...Bring up 250 on a vocalist singing a440 and see what you get :)
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boomy room sound = MUD = bad sound . . . :cool: . . .
 
#133
deaf pea said:
yeah . . . that's usually called "noise" . . . we engineer types usually put a high-pass filter on the channel to MINIMIZE the "noise" . . .

boomy room sound = MUD = bad sound . . . :cool: . . .
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Thats a rather unneccessarily confrontational comment, I've been making my living from being an engineer for a fair while and on some good records. I know you have too, and on more successful records than me but I certainly think I've earned the right to call myself an 'engineer type' :)

Fair comment though in most cases, I guess my suggestion was more that you shouldn't get into the mindset of working out the fundamental on each of your tracks and ritually cutting below it as habit. Voice was a bad example.

I think it makes more sense with more complex sounds like snares and the like, where the apparent fundamental and most powerful frequency can be a lot higher than the actual fundamental, and as such a 180Hz boost adds a bit of weight to even a relatively high-tuned snare.

That said, with a sparse track I still find myself boosting below the fundamental on vocals sometimes to bring up extraneous elements in the sound, sometimes you get a low end 'free gift' that works with not against the source. In a good room, that is. The results sound good to my ears and I keep getting the work so I'm cool with going with it!
 
#134
Charling said:
Thats a rather unneccessarily confrontational comment...
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sorry man . . . :hiding: . . .

Charling said:
...Fair comment though in most cases, I guess my suggestion was more that you shouldn't get into the mindset of working out the fundamental on each of your tracks and ritually cutting below it as habit. Voice was a bad example...
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I think it's more important to LISTEN to the track alone, and also with the other components of the sound (if the sound is on various tracks), to adjust the high pass filter's cutoff frequency . . . :cool: . . .
 
#135
deaf pea said:
sorry man . . . :hiding: . . .
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All good :)

deaf pea said:
I think it's more important to LISTEN to the track alone, and also with the other components of the sound (if the sound is on various tracks), to adjust the high pass filter's cutoff frequency . . . :cool: . . .
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Yeah, for sure, and sometimes you find that what you would normally cut off may help with a bit of weight when there is space to be filled :) I find, anyway.

I learned from the engineer of a lot of 90's UK indie stuff, Oasis, Stone Roses, Beta Band etc. Very much a rock and roll approach to the whole thing, push things hard and far and see what you get then make it work, Its not necessarily how I naturally go about making records but I've seen it work brilliantly in his hands so I'm not averse to finding use of the dark corners of recorded sound!
 

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