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Need Advice On Miking My SVT 8x10

#21
NKBassman said:
Using your P Lyte, Jimmy? And... more relavent to the discussion, which mic?

I've heard good results at the local clubs when competant sound guys are using an AKG D-112 on a bass cab, but I've never tried using one myself in any kind of controlled situation. One of the salesmen at Long & McQuade recommended the Beyerdynamic M99 (I think...). I'm pretty sure that's another kick mic, but he swore by it.

When I'm playing out I'm usually just happy to see the soundguy put ANY kind of mic on my cab, period. If he knows what he's doing and is in any way worth his salt as a sound guy, he'll make it sound good regardless of what's there.
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That's true. I still prefer flatter response mics, though. I was using my modded 76 Fender PJ with Chromes, and a Heil PR40 micing my SVT into two SVT 210av's. If you get a Beyer, the M88 is a really good mic. Not familiar with the M99.
 
#22
NKBassman said:
.

When I'm playing out I'm usually just happy to see the soundguy put ANY kind of mic on my cab, period. If he knows what he's doing and is in any way worth his salt as a sound guy, he'll make it sound good regardless of what's there.
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that pretty much hit the nail on the head right there. im a live sound engineer and obviously bass player as well. ive used many different mics on bass cabs. i also 9 out of 10 times di and mic it. thats the best way to get the best of both worlds. i have preference towards certain mics. but you guys have to remember ( depending on the size of the mixing console) they have 4 band fully sweepable eqs at best (some are 3 band with only sweeable mids at worst) so basically weather you use a 57 or a 52 or a 421 or that piece of crap radio shack mic it really comes down to the engineer whos mixing. a good engineer will color your sound as little as possible and just get rid of some of the not very tasteful frequencies due to the room or sound system or stage volume and even mic, or add some to compensate.
 
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#23
NKBassman said:
When I'm playing out I'm usually just happy to see the soundguy put ANY kind of mic on my cab, period. If he knows what he's doing and is in any way worth his salt as a sound guy, he'll make it sound good regardless of what's there.
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This is true. If I've taken the time to haul a nice head and cab to the gig, it is really gratifying for the soundperson to use a mic.
 
#24
NKBassman said:
I've heard good results at the local clubs when competant sound guys are using an AKG D-112 on a bass cab, but I've never tried using one myself in any kind of controlled situation. One of the salesmen at Long & McQuade recommended the Beyerdynamic M99 (I think...). I'm pretty sure that's another kick mic, but he swore by it.
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I always find kick mics just too mid scooped. I had a gig last friday and they mic'd my cab with a kick mic. I got the board recording of the show and the bass sounds really off. Tons of high sizzle, especially when I was running OD or fuzz, and a decent amount of low, but really lacking punch. I usually bring my PR40 with me if I think I'm going to be mic'ing my stuff, but I didn't this time.

I've found some sound guys are put-off when you request a mic as well. I did a show where I brought my PR40 for my B-15 which was being used as a backline for the night (a few acoustic/singer/song-writer type groups) and had it all set up while we were sound checking and he was like "oh, well I guess we're mic'ing bass tonight" as if it was some big hassle. Had another back when I was running my V4 as a two channel with an A/B setup in front who tried to set up a DI on just one channel after I had asked him for a mic. Twice. I think the worst was one night where I brought my DI and the sound guy set up a mic but said "I won't plug it in but I'll put it there cuz it looks good".
 
#28
I like the SM57 with a fridge as well, especially blended with a DI.

Kick mics are a no-no in my world as well, just too much EQ futzing needed to get the sound I want.

The Sennheiser 421 is so sweet, I had one but it seems to have disappeared, damn it.
 
#29
JimmyM said:
BTW, I listened briefly to a board tape of my gig tonight, and let me tell you, if any soundman ever tells me again that they want to run a DI on me instead, I will kick them square in the balls as hard as I can. You'd have to be an idiot to think it didn't sound completely awesome in every way.
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Could you provide some more details about the gig, like venue size, what the PA was, what console he was using, what DI?
 
#32
Nightlyraider said:
Audix D6 is my favorite bass cab mic. Can't make it sound bad and it has huge sensitivity.

IMO using a mic is always the way to go if you can. DI's are cool, but often don't sound identical to that sound you've fine tuned to come out of a cabinet.
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I'm glad you brought this up. I hear soundmen and other bass players often say, "When you mic, you only THINK you're getting the sound of your amp in the PA, but it sounds nowhere close to your amp's sound." But here's a little helpful hint for that...tell the soundman that you like the sound coming out of your amp, and ask him to duplicate it with the mic. Works 100% of the time unless the soundman is a dick.
 
#34
Okay, guys I don't think budget is going to be a problem as my bandleader will spare no expense at getting the right sound. Of the following mics recommended in this thread, which are the most roadworthy?

Sennheiser 421
EV RE20
Heil PR40
Beyer M88

I'm sure he already has an extra SM57 lying around so I might experiment combining that with a DI signal this weekend. Should it be an equal blend of the two or would you favor one signal over the other? Any EQ tips on the mixing board for either signal? Thanks!
 
#35
I've been using the Heil for 3 years now and it's been very roadworthy. Can't speak to the others, but all mics of that caliber should be treated like you're carrying crystal wine glasses.

As for the mic + DI blend, already told you ;) Use the DI for the lows below 100hz, use the mic for everything else, and blend them to where it sounds natural.
 

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