Mic vs DI

[Ender_rpm]

In this specific situation, I think your pedal settings are set up to make your AMP sound good, but causing issues with your FOH. Try setting up your signal to FOH first, then tweak the amp EQ to get the sound you want on stage.

Also, what bass are you using? If you are going DI to FOH, the native tone of your bass becomes the #1 determinant of your overall sound, IMO.

 

[seamonkey]

Mic'ing a speaker cab is difficult to do outside a studio.
For example, here's a two way:


There's really no good place to put a single mic up close.
Given a typical bass amp, the same thing happens across a single driver. Different response for different parts of a speaker cone. Including the port. And the cone picks up reflected sounds from other sources and feeds them into the mic.

DI is working out very good these days. The optimal tone can be captured from an amp using mics in a studio and then modeled out live.

 

[mtsens1]

+1!

Okay, Read the mega thread (some of it anyway). Why not make it a sticky? Might prevent new folks from starting a thread that just rehashes.

I actually had my answer on the first page...thanks! For now I run the mixer from stage, can DI from my wireless (bypassing amp completely from FOH) and eq the board they way I want, if I want. I have a good mic and prefer that as I have the mic spot marked and it blends in with FOH perfectly. I so much prefer the mic, but everyone has their reasons for doing otherwise. If/when we play a venue where I'm not doubling as sound guy, will obviously bring mic, stand, cable, etc and be ready for both scenario's. Thanks everyone for your valuable input.

Moderator: Feel free to kill this thread as I have my answers and no need to tart another mega thread. Suggest a sticky on this topic.

 

[Nephilymbass]

In my opinion the professional way to do it is to have both. What i actually do is run an xlr at every show and when i can run both i use a cheap shure 58 (non beta) on my cab. The problem with one or the other is everyone wants something different. Not only is it a mic vs xlr issue but different people prefer specific microphones. Most of the bass players i know who prefer microphones actually bring a mic for their bass rig. I know guys who bring a beta 52 or akg d112 microphones, each mic has a specific sound and often the bass player considers thier choice of microphone an essential part of thier live tone. For me if i had to use a mic and only a mic is probably use my CAD floor tom mic, but using both the 58 is my choice because it compliments my xlr sound. Or in other words They both have different characteristics but work well together.

 

[Nephilymbass]

In my opinion the professional way to do it is to have both. What i actually do is run an xlr at every show and when i can run both i use a cheap shure 58 (non beta) on my cab. The problem with one or the other is everyone wants something different. Not only is it a mic vs xlr issue but different people prefer specific microphones. Most of the bass players i know who prefer microphones actually bring a mic for their bass rig. I know guys who bring a beta 52 or akg d112 microphones, each mic has a specific sound and often the bass player considers thier choice of microphone an essential part of thier live tone. For me if i had to use a mic and only a mic is probably use my CAD floor tom mic, but using both the 58 is my choice because it compliments my xlr sound. Or in other words They both have different characteristics but work well together.

 

[jimfist]

For those of you who's band mostly run their own sound. What do your EQ settings look like at the FOH board? I have been experimenting with different ideas and nothing is working. I would not say that I'm picky about my bass tone, but I do want it to sound good in the FOH.
thoughts?

We need more thorough information on your PA system, the type of venues you perform, how loud stage volume is, etc. A complete list in addition to console to include:

- speakers (manufacturer and model
- amps (if using any passive speakers)
- stage monitors
- outboard processing (all, for mains and monitors)

small club sound is challenging, and depending on the rooms you perform and the quality/power/headroom of your FOH system, you may have your work cut out for you. Without knowing what you're working with, it's hard to say, but there's a reason why quality, powerful, full-featured PA gear cost a lot (relatively speaking - compared to 25 years ago, current hi-tech speaker systems are a bargain comparing price to performance to size/weight).

 

[jimfist]

Okay, Read the mega thread (some of it anyway). Why not make it a sticky? Might prevent new folks from starting a thread that just rehashes.
.

I agree that it should get a sticky. However, there still may be those who have specific and unique questions that will pop up from time to time, but directing them to the sticky is a good idea in order to reduce the redundancy of this stuff.

 

[Doley50]

We need more thorough information on your PA system, the type of venues you perform, how loud stage volume is, etc. A complete list in addition to console to include:

- speakers (manufacturer and model
- amps (if using any passive speakers)
- stage monitors
- outboard processing (all, for mains and monitors)

small club sound is challenging, and depending on the rooms you perform and the quality/power/headroom of your FOH system, you may have your work cut out for you. Without knowing what you're working with, it's hard to say, but there's a reason why quality, powerful, full-featured PA gear cost a lot (relatively speaking - compared to 25 years ago, current hi-tech speaker systems are a bargain comparing price to performance to size/weight).

We mainly play small bars, pubs, a few outside gigs in the summer, but that's it.e
Right now were are using:

Mackie Pro FX 16
2 QSC K-12 1000 watts each
2 Yorkville NX720's ( Subs) 720 watts each 15" Woofer
2 Mackie TH 12A Thumps for floor monitors ( one for the lead singer and, one for the drummer )
I do not run any bass through the floor monitors

The only "Outboard processing" we use is a little compression and delay/reverb from the mixing board.

hopful i did not forget anything
Thanks
John

 

[Geri O]

The posters that suggest doing both get the gold star.

As a sound guy, I'd request to be allowed to take both and check and see which one worked the most ideal for what was going on (after checking the arrival times of both and aligning them, either through the delay feature that's now on each channel of a digital console or simply checking the two signal with the polarity switch on the mic channel). a lot of times, I could blend the two for a pretty solid sound, but with character.

These days when I'm playing, and knowing what the soundguy is up against, I'll tell them to make it their preference when taking my bass to the PA. I have a Radial JDI and that's what they usually get. Sometimes, a soundguy will take a mic signal, too (especially those around town that know me from my previous profession). No one's really cared for the mic sound of the SWR WorkingPro 410 cab, but I imagine I'll hear some difference comments when I bring the EBS NeoLine 410 cab I just bought. Of couse, being IEM, I don't have it very loud and it's mostly for the band's sake anyway.

Just one of the upteen ways of doing things...

 

[bluesdogblues]

maybe one of the reasons the DI is easier is because unlike miking, with DI you don't have to worry that your hardwork in perfect setting the mic on the cabinet may be ruined just by somebody incidentally trip over it and change the angle etc.
Anyway, both DI and miking have their own purpose IMO. If I can, I'd like to have both or more.