• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

Multi Mic a Bass Cab

100 times this.

For drums I always err on the side of caution.
I don't always need the bottom snare, or the hi-hat or a dedicated ride mic, etc, but the day that I haven't set one up is the day I need it.

If you have the gear, use it and experiment!
Last session I had 16 drum channels for a 4 piece kit. Won't use them all, but I'd rather have something I don't use than wish I had something I didn't.

I usually record a DI on the guitar as well. 2 benefits: If there is a spot of bad timing, it's easier to find the transient on a DI track. If the tone isn't working in the mix, you can reamping.
 
I usually record a DI on the guitar as well. 2 benefits: If there is a spot of bad timing, it's easier to find the transient on a DI track. If the tone isn't working in the mix, you can reamping.

I did exactly this on a session last weekend.

I recorded the two tracks live in one room (Bass, Drums, Guitar).

Bass was DI only, drums had about 8 mics on them and had a single ribbon on the guitar amp with a DI before his pedals.

After we tracked the songs I did a quick Guitar edit and then Re-Amped the DI through the amp (With my Avalon U5 taking a parallel line from the amp head so I could try out some cab simulations too).

Cut out a LOT of drum spill captured by the guitar microphone and gave us more options (Stereo panned guitar being one) for the mix!
 
A band I am in recorded 11 originals last fall, in a live-in-studio format. I ran DI from my head, post, from a Streamliner 900 with nearly flat EQ settings, and he double miked my fEAFul 15/6, I cant remember what he used, but one on the 15 and one mic on the 6. In mix down he favored the DI and the 6 for OD, fuzz, and chorus effects. We all really love the mix, for which he used no EQ (!!) at all, just panning and level. He used some fancy reverbs on the vocals but everything else was what our rigs produced.

Sounds amazing. He says he lets the Flickinger console and his vintage tube compressors and limiters do their magic and that’s all he needs. The most amazing thing is the worse of a system we listen to the mix on, the better it sounds, relatively speaking. It’s beautifully detailed on good speakers, you can hear vocalists inhaling before they sing, cool “live” stuff like that, but still sounds really good on the crummiest boom boxes we could scrounge up. Sounds great on all of our car stereos. The effects on my bass sound really good, especially my overdrive tone, which is very subtley different from my clean tone.
That's an engineer, who has the right tools and know how to use them.
 
I usually only set up a DI (usually an 512c API or a Radial) for bass when I'm recording other bass players. Whenever I record my own bass parts, I always mic a 4x10 cab with a 57 along with a DI. I recorded an album in January and also used an Audix D4 (per a suggestion by the dude at Spectre Sound) along with the 57 and DI. The mix was a blend of each, but I would have been happy with just the 57 and DI. If you're serious about bass, you want to mic a cab if possible.