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If you insist on micing the cab, I would get it out of the corner, and away fromany boundary walls.
experiment with distanced mic placement, and use a HPF to sort out the rumble, around 40hz or so. use new strings to get some zing outta that thing!
D
The RE20 is an excellent mic for bass. It has very a very controlled proximity effect so unlike most mics you can place it very close to the source without things getting muddy. The RE20 is also far more neutral sounding than most typical bass mics, which means it may sound less impressive at first but will leave you with FAR more options to shape your tone the way you like it. Great mic!
As for how to mic THAT cab... I get scared just by thinking about it! Probably not the best cab for recording to be honest.... but I've never actually tried so it could turn out to be amazing for all I know. I suspect blending with a DI might get the best result but you will need to be very careful with your mic placement to avoid any phase issues between the mic'ed signal and the DI (a phase correction tool like the Radial Phazer is a great help with this).
As for how to mic THAT cab... I get scared just by thinking about it! Probably not the best cab for recording to be honest.... but I've never actually tried so it could turn out to be amazing for all I know. I suspect blending with a DI might get the best result but you will need to be very careful with your mic placement to avoid any phase issues between the mic'ed signal and the DI (a phase correction tool like the Radial Phazer is a great help with this).
Normally a 1x18 folded horn is going to be quite woofy/undefined. However, there is some kind of magic grind in the Acoustic 360/361 preamp/poweramp that enables it to cut through ... particularly with a bright bass like a Ric 4001 and/or a P or J played with a pick. That said, I agree with some of the posts in this thread that the Acoustic 360/361 is a great amp, but not necessarily an ideal one for use in the studio. It was designed to be played loud and that's where its sweet spot is tone-wise.
Yep RE20 is pretty straight forward go to mic.
Basically a radio announcement microphone.
But the tight pattern and frequency response worked well with many instruments
like acoustic guitar, kick drum, bass cabinet
Very straight forward Dynamic Cardioid
like many vocal mics.
Actually tight pattern classic like a SM58 work well for bass cabinets, and guitar cabinets.
Same idea, good high SPL vocal mics which rejects surrounding environments
Good for close micing / high SPL stage performance
Another very good dynamic mic designed for instruments with bass response is the
Sennheiser E602-II
Excellent for live Sound with Bass Guitar Cabs , Kick Drums
Cardioid pattern like the Re-20, SM58
So can record high SPL well and reject bleed.
Very good also for Vocal, And Horns
Cabinet isnt woofy and undefined.
Seems like people are describing normal bloomy stage cabinets lol.
Horn loading is absolutely the opposite.
First people say horns have no bass response.
Then all of a sudden they are boomy.
People that actually own the cabinets know what they sound like.
Ive recorded 361 and 371 bass systems.
And went straight to the mains with a microphone live
You put a mic on the top of the cab, and it records or goes to house.
Really that simple.
Basically a radio announcement microphone.
But the tight pattern and frequency response worked well with many instruments
like acoustic guitar, kick drum, bass cabinet
Very straight forward Dynamic Cardioid
like many vocal mics.
Actually tight pattern classic like a SM58 work well for bass cabinets, and guitar cabinets.
Same idea, good high SPL vocal mics which rejects surrounding environments
Good for close micing / high SPL stage performance
Another very good dynamic mic designed for instruments with bass response is the
Sennheiser E602-II
Excellent for live Sound with Bass Guitar Cabs , Kick Drums
Cardioid pattern like the Re-20, SM58
So can record high SPL well and reject bleed.
Very good also for Vocal, And Horns
Cabinet isnt woofy and undefined.
Seems like people are describing normal bloomy stage cabinets lol.
Horn loading is absolutely the opposite.
First people say horns have no bass response.
Then all of a sudden they are boomy.
People that actually own the cabinets know what they sound like.
Ive recorded 361 and 371 bass systems.
And went straight to the mains with a microphone live
You put a mic on the top of the cab, and it records or goes to house.
Really that simple.
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I own a 371 (and lots of modern stuff) and would jump at the chance to get a 360 head. Practical (by modern standards) no, Hi-Fi or FRFR (by modern standards) no. Wonderful (by mojo standards) YES!
Off topic, but love the C3 & Leslie combo!
That's a double tracked thing. To my ear, this sounds more like a miced up 361cab in the mix with DI
...It's a little woofier when you stand next to it at the time but, it's kinda like that.
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That's strange. I played one for several years back in the 70s and i wouldn't have ever called the sound of a 360/361 woofy or undefined.
That's a double tracked thing. To my ear, this sounds more like a miced up 361cab in the mix with DI
It's a little woofier when you stand next to it at the time but, it's kinda like that.
Yes double tracked. Wonderfull effect isnt it (theres that word again...sigh!)?
And yes you are right come on come over gets straight and undeniably to the point!
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That's a double tracked thing. To my ear, this sounds more like a miced up 361cab in the mix with DI
It's a little woofier when you stand next to it at the time but, it's kinda like that.
My god thank you for posting that.
So nice to hear a actual player digging in a spitting out some chops.
Yes read it again for the first in a long time: Two tracks on Continuum
mind blown by Jaco again. Impossible the first time... yet twice on top of each other perfectly?
So would an RE-20 be acceptable? It will be running into a Neve pre - or is there a better vintage mic option?
Also, my downstairs setup is in the process of getting a full treatment for acoustics, any thoughts on walling off the 360/361 too minimize bleed/boomy issues.
There is no way to properly mic a folded horn. Folded horns are designed to "throw" low end, actually, to reproduce very long wave length bass sounds, which can take up to 32 feet to fully form. And there no easy way to baffle a room for it, for that same reason. Set it up outside, and get a long cord. Stand right next to it then walk away from it and you will see what I am saying. Up close they cabinet sound really boxy with no bottom at all but some 15 or so feet away and you start to hear the low end it makes.
Your best best is to tap the signal between the preamp head and power amp bottom, with a DI box.
I had one and did a ton of gigs with it. It did not work well at all in small rooms. All it did was shake things. Larger rooms and the low end was everywhere, and it still shook things. Like glasses on tables. Outdoors it seemed like the bass went on for ever. My drummer hated it because he could not hear me - I had to get a small amp and point it at him. I hated it on small stages because I would be jammed right up on it, and I wouldn't be hearing much at all, but the audience was getting the full brunt of the low end. I found that if I could get about ten feet away from it, it sounded really nice. But it really is not a rehearsal small room rig. But I wish I had one again..
Also, my downstairs setup is in the process of getting a full treatment for acoustics, any thoughts on walling off the 360/361 too minimize bleed/boomy issues.
There is no way to properly mic a folded horn. Folded horns are designed to "throw" low end, actually, to reproduce very long wave length bass sounds, which can take up to 32 feet to fully form. And there no easy way to baffle a room for it, for that same reason. Set it up outside, and get a long cord. Stand right next to it then walk away from it and you will see what I am saying. Up close they cabinet sound really boxy with no bottom at all but some 15 or so feet away and you start to hear the low end it makes.
Your best best is to tap the signal between the preamp head and power amp bottom, with a DI box.
I had one and did a ton of gigs with it. It did not work well at all in small rooms. All it did was shake things. Larger rooms and the low end was everywhere, and it still shook things. Like glasses on tables. Outdoors it seemed like the bass went on for ever. My drummer hated it because he could not hear me - I had to get a small amp and point it at him. I hated it on small stages because I would be jammed right up on it, and I wouldn't be hearing much at all, but the audience was getting the full brunt of the low end. I found that if I could get about ten feet away from it, it sounded really nice. But it really is not a rehearsal small room rig. But I wish I had one again..
