Good mike choices for my cabinet

[mellowinman]

Try this one:

 

[agedhorse]

Try this one:

View attachment 3268968

How does this apply to our discussion? It's 600 ohms balanced mic input, input level 1/4" outputs.

 

[JRA]

Would a 57 cut it? Im not looking for a $300 mike either.

i just want more of the sound on stage to be FOH

good luck with that one...you probably want FOH to sound like what you hear at your stage position.

Soundmen tend to be lazy, ill make it easier

so your guy is a hack. or, your assumptions may be naive. or both?

In many cases a DI will sound BETTER than a mic

Bottom line, if you could only use one source, the DI was most important.

 

[lfmn16]

There's a good

Theres a good chance that if i make em mike me i wont get a di too. We have alot of inputs. I need something thatll work well on its own

There's an even better chance that if you let them mic you AND DI you, they'll turn the volume off on the mic, not blend it.

 

[Zbysek]

But if you don't know what you're buying or why you're buying a particular mic over another - and don't want to pay the money to do it right, then your destiny will probably include both annoying (at best) the FOH guy and being unhappy with your sound anyway.

+1

 

[TrevorOfDoom]

AKG P2, all day long.
Super cheap, great frequency response.

Just please, don't ever use a kick drum mic.
They usually scoop the mids, and shape your EQ to something very similar to the kick drum. So you can't really hear both your bass and the kick drum well. One of you has to win out, and it's ALWAYS the kick drum.
Keep your mids.
Find a mic with a decently flat frequency response (like the P2).
And be nice to the soundguy.

 

[BergerHead]

Better go for a d.i. box, miking can turn out another source of hissing, you'll not get better results than with a nowadays's box; getting a "better live touch" must be kinda illusive wishful thinking. I had a Sans Amp Bass driver (that lacks of mid-control), now i'm happy with the MXR M80. And you surely can imagine, that you will not hear any difference onstage at all ...

 

[Zbysek]

I sometimes get my cab miked...but only as a second option, never as a first (and the only) one. The sound guys I work with almost never use SM57 for these purposes even though they all have it available...

I don't share the belief that the sound of my rig on stage is always the best one for FOH...

I don't think any advice involving "fighting" the sound guy is a good advice...

 

[lpbfender]

An SM57 would work fine, especially if you blend it back with a DI. An Audix D4 is a good choice that is relatively inexpensive.

I like the Audix D4

 

[lpbfender]

It's one of my favorites as well... except for the damn clip!



Maybe it doesn't suck so bad that the guitar player gets a mic, and you don't. Often it's less hassle due to the (generally) noisier rigs plus the dirty little secret that sound guys keep to themselves... in smaller rooms, even though we might put up a mic, we spend zero time on it because it's not going to be needed anyway. If there was a way to turn down the guitar, we might be a happier bunch. In a larger room, we might opt for the mic as an easier way to translate the guitar player's entire sound but often it's not as good as we would like.

In many cases a DI will sound BETTER than a mic, and what our job to do is to get the bass to sit best within the entire mix, in a listening environment that's different than the stage sound. It depends on the room, it depends on the PA rig, it depends on the volume but if I had to choose between a mic or a DI, I would almost always choose the DI because I know I will be able to get something easily usable even if it's not "perfect". With a mic, the confidence factor is not as high, especially if tighter low end extension is part of the player's tone. Ideally, I would choose both, start with the DI and add mic to taste.

Since most of the gigs I worked were at the national touring level, I generally had whatever I needed and likewise, the band trusted me to do my job (be it mix FOH or support their own guy) so that they could concentrate on playing. At this level, both DI and mic were the norm, though if only one input was used it was almost always the DI.

This is the reason why I put so much effort into a highly usable DI on every amp I design.

Loved your di on the ShuttleMax9.2!

 

[BasturdBlaster]

I have a D6 and a Beta 52 and both seem great to me. Luckily, I haven't needed to use them for some time now. Apparently both are scooped.

 

[Zbysek]

This is the reason why I put so much effort into a highly usable DI on every amp I design.

I love the DI on GB Shuttle 3.0!

 

[NOVAX]

Audix i-5
Blue Blueball
Blue Kickball
Heil PR-30
Heil PR-40

 

[bassbrad]

[Invalid or Expired Link Removed] is a mic I really like for micing a bass cab especially a big 810 cab. It has the headroom to handle the volume, a nice frequency response and polar pattern so you can back off the speaker a bit for air and a shock mount for bumpy stages. Ruggedly built and very affordable.

 

[ofajen]

It's live sound, so it's pretty much just a question of how much of a train wreck will it be.

Otto

 

[Jim C]

I too liked the DI on the GB Shuttle 9.2.
So much so that it was easy to live with no mic if they would take the tube channel DI'd.

Something that hasn't been mentioned, and it's never been an issue for me, is that it is possible to have the mic out of phase with the cabinet making the bass sound like poop, and the player not knowing.
A single input source can't do that.

For you active, pro, guys, are any players taking a DI, dropping that into a DAW or modeling amp, and than taking this soley to FoH?

 

[Gizmot]

No, a measurement mic is not a suitable choice for micing a bass cab, as it is supposed to have a flat freq response and (with the small capsule) not necessarily a low noise floor. But the response was still correct, the size of the diaphragm does _not_ decide whether a microphone (dynamic, condenser, electret) can capture low frequency signals. There are many other interesting properties/trade-offs related to the capsule size, such as SPL limit, resonances, generated signal level (contributing to the aforementioned noise floor), etc....

With condenser mics, you can achieve wide frequency response with small-diaphragm capsules, but not with DYNAMIC mics. Show me a DYNAMIC mic with a small-sized capsule that provides something close to extended LF response and can handle enough SPL to be usable on a typical stage.

 

[MYLOWFREQ]

It's one of my favorites as well... except for the damn clip!

I certainly think that it's a marketing strategy, and belive there are aftermarket mic clips around. Its a great mic otherwise.. Shame

 

[GoesThump]

If you are paying $1500 for single C414XLS, you are getting ripped off badly.

Ooops - I should've clarified that I'm in Canada. $1459.99CAD is what they go for at L&M here.

The Canadian Peso has taken something of a beating vs $USD in recent years.

GT

 

[beans-on-toast]

Ooops - I should've clarified that I'm in Canada. $1459.99CAD is what they go for at L&M here.

The Canadian Peso has taken something of a beating vs $USD in recent years.

GT

Despite the crummy exchange rate...$1099US (vintageking.com) equals $1494CDN. So L&M is not all that bad.

Those mics are really nice on acoustic instruments, vocals, drum overheads, etc.