I need some recommendations on a good but inexpensive or moderately priced microphone that I mic my amp with for an upcoming performance. I notice a lot of mics don't seem to cover the bass's frequency range. Any advice would be greatly appreciated. Thanks.
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Need to mic amp for performance..Recommendations
- Thread starter basscentric
- Start date
i think you'd be much better off buying a DI box (if your amp doesnt have a di out already) You'll get full frequency response that way.
john turner
You don't want to do that. Trust me.
remember that some di's work better with passive instruments, and some work better with actives.
if you have to mic, the akg d112 works very well on bass cabs.
if you have to mic, the akg d112 works very well on bass cabs.
john turner
You don't want to do that. Trust me.
on the di front, i would recommend a countryman di - solid and well made, but only if you have a passive instrument, like a fender. active basses through countryman di's sound chirpy ime (i've had one for about 10 years). a cheap whirlwind di has worked nicely for me live with my active instruments.
for a passive di, or even for just a good all around, go check out the raven labs mdb-1 - multiple inputs too, works as a nice live mixer for multiple instruments too.
for a passive di, or even for just a good all around, go check out the raven labs mdb-1 - multiple inputs too, works as a nice live mixer for multiple instruments too.
I've found the SM-57 to work well on bass. Much more articulate than a kickdrum mic. Atleast to me. But then again I mix the mic signal with a DI signal too.
carl-anton said:
D-112s are good, but much more expensive. I agree that SM-57s work just fine for live sound. Mess with placement, but usually I go for pointing it strait at the speaker surround (edge) on one of my 10"s.
pickles said:
The D112 is a great mic in general, but if your drummer is using the same mic on his kick then you run the risk of both the kick and the bass fighting for the same frequencies. If your g**tar player is using the 57 on his amp, same thing. With that said, the 57 is prolly the best place to start as it's SO foundational.
What is it you guys like in the d112? I found it muffled and uninteresting and only letting the bottom half of my sound through. What am I missing here?
The 421 is a superb investment. Whether it is the best choice for you depends on your touch, instrument & rig. That also should answer Carl's question about why people like the D112.
john turner
You don't want to do that. Trust me.
carl-anton said:
Where did you aim it? The D-112 has wide dynamic range and lots of bottom end ... just depends on what you're looking for really.
T. Alan Smith said:
That is a very good point ... really a DI is the most practical way anyway ...
Well, can't remember where we put it. It was on a recording two years ago. I guess we put it pretty close to the cab, aiming for the side of the speaker (if that makes sence). Is there a better way to place this particular mic. Going into the studio again it might be good to know.pickles said:
Also, to T. Alan Smith: What rig, touch and instrument fits the d112? (not trying to be a smart*** here, just curious
)carl-anton said:Also, to T. Alan Smith: What rig, touch and instrument fits the d112? (not trying to be a smart*** here, just curious
Good question if you honestly don't know.
In order of importance:
>the song
>the band mix
>the room
>the touch of the performer
>the instrument &
>the amp
all determine whether one mic or another is better suited for the job. Because(obviously) these elements change regularly, you see audio engineers with as wide a selection of mics as reasonably possible.
Often a group will set up for a recording session one day and the engineer will choose one type of mic for a particular instrument. Then track the next day and swap mics because it ain't happenin' on said instrument. Why? Who knows...'cept something in the air is different causing him to hear differently.
I generally DI out the back of my SWR350 head, but if i choose to mic as well, I have a few options including a Soundelux U195, SM57, EV 450B, and a CAD E100.
carl-anton said:Well, can't remember where we put it. It was on a recording two years ago. I guess we put it pretty close to the cab, aiming for the side of the speaker (if that makes sence). Is there a better way to place this particular mic. Going into the studio again it might be good to know.
Also, to T. Alan Smith: What rig, touch and instrument fits the d112? (not trying to be a smart*** here, just curious
Since the sound was muffled and you were micing the speaker surround, you could have moved it toward the center of the speaker, where the sound is much brighter. With any mic you've got to have the engineer move it around while you play to find the sweet spot.
