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Mic for live use with a bass?

casio

casio

Aug 1, 2007
589
4
Croatia
www.myspace.com
#1
Hey, this is my first post here and I'm not sure if it belongs here, but i wanted to ask something:
i'm kinda sick of just gong D.I. on live gigs since I invested a lot of time and money to make my rig sound the way it does, so I wanted to get a mic for live use so my soundman can blend the cab sound with the direct signal!
which mic would u recommend?
I heard a lot of good things about the Audix D6 although its a drum mic!
help, anyone?:D
 
#2
Obvious best choice is a neumann fet 47, probably unrealistic though, especially live

sennheiser 421
EV RE20

I use a kick drum mic, d112 but i usually blend it with 2 to 3 other mics, and this is for recording not live. Kick mics def accentuate the bottom end heavily.
 
#5
bluestarbass said:
Obvious best choice is a neumann fet 47, probably unrealistic though, especially live

sennheiser 421
EV RE20

I use a kick drum mic, d112 but i usually blend it with 2 to 3 other mics, and this is for recording not live. Kick mics def accentuate the bottom end heavily.
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Using good mic's for mic'ing amps and close mic'ing drums is a waste and the SPL can damage the mic's. Use a SM57 or any good dynamic mic and it will sound the same, maybe better because they are designed for high SPL's. Get a solid note recorded that you can tweak anyway you want in the mix.
 
#6
IF you dont think a 421 or an re20 can hold up then maybe youve never used those mics. A 421 could handle anything a 57 could and more. An re20 or 421 could handle just as high spl's as a 57 anyday. Its not a waste if you want your bass to sound ok through a PA. Not all mics are created equal and they all sound completely different.

any good dynamic mic and it will sound the same
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Not to call you out but thats an extremely misinformed statement.
 
#7
bluestarbass said:
IF you dont think a 421 or an re20 can hold up then maybe youve never used those mics. A 421 could handle anything a 57 could and more. An re20 or 421 could handle just as high spl's as a 57 anyday. Its not a waste if you want your bass to sound ok through a PA. Not all mics are created equal and they all sound completely different.



Not to call you out but thats an extremely misinformed statement.
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I have worked in large name studios and we have A/B'd using real Neumans 67's. 87's 47's and other high-end condenser mic's and dymanic mic's on amp's and close mic'ing drums for rock and there is no need to risk expensive consender mic on them. Save the highend mic's for vocals and acoustic instruments, open mic'ing drums, room mic's for ambience. things richer in harmonic sound. I'm just saying what I was taught and what I have heard via testing. I stand behind my statement and suggest you/anyone do some A/B testing on a mic's especially on bass amp or cranked guitar.
 
#8
+1 to the 421.
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Used one all through the 80's in front of either an Acoustic 301 cabinet, an Ampeg SVT 8x10, and a Trace Elliot 4x10(all at different stages in different bands). It NEVER blinked.
A LARGE number of those YEARS were high-SPL rock music.

It also worked great for recording Christmas carols at Mom's direct into a cassette deck and for recording piano recitals during that time. I've two cassettes of my late Mom on piano playing and singing hymns and blues tunes thanks to that mic.
 

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