Is there such a thing as a good mic for recording my string bass (Jay Haida) for under $200? I have a Tascam Portastudio Digital 8 track. Thanks!
Enjoy the benefits of a premium membership!
Upgrade Account
-
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 free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Recording String Bass
- Thread starter Ty Wiggins
- Start date
We probably have the same 8-track. I've been messing with budget recording since the winter, mostly just bass and drums. My room isn't great for recording.
I've tried some decent condensers, and some cheapies in a ton of variations. However the best budget mic I've found is an old SM-57. I think it works fine for budget home recording. I mount mine with an h-clamp, which I think is important because of it being a dynamic. You have to keep the air gap much more consistent than you would with a condenser.
Now having said that, it's obviously not a transparent mic and it won't pick up every nuance. There are certainly drawbacks. However a consistent mount, and consistent performance can yield a very usable track. If you try this route, you can PM me for tips and stuff I've found worked better if you want.
Also - people offering $500 dollar suggestions when the OP asked for under $200 is completely ridiculous.
Carry on.
I've tried some decent condensers, and some cheapies in a ton of variations. However the best budget mic I've found is an old SM-57. I think it works fine for budget home recording. I mount mine with an h-clamp, which I think is important because of it being a dynamic. You have to keep the air gap much more consistent than you would with a condenser.
Now having said that, it's obviously not a transparent mic and it won't pick up every nuance. There are certainly drawbacks. However a consistent mount, and consistent performance can yield a very usable track. If you try this route, you can PM me for tips and stuff I've found worked better if you want.
Also - people offering $500 dollar suggestions when the OP asked for under $200 is completely ridiculous.
Carry on.
Thanks for the tip, Sevenyearsdown! There sure is a bewildering about of info out there.
There's a thread around here somewhere where Chris Fitzgerald talks about the SDC he uses to record his videos, definitely under $200 if I'm remembering correctly. His bass sounds PDG using a very basic recording technique.
I second the use of an SM57.
I second the use of an SM57.
Some time ago I have experimented with an Oktava MK-012 a bit with the rubber band mount through the underlengths.
The Oktava is a bit weak on bass frequencies, but since in the near field there is a lot more bass than in typical hearing distance this is not a bad thing.
I tried all three basic SDC capsules, omni, cardioid and hypercardioid. The omni sounded best (but only practical for studio use), the hypercardioid not much worse (best for live use of thes three, but with caution) and the cardioid a lot worse than the hypercardioid (which is between figure of eight and cardioid).
Figure of eight seems to be useful too (I.e. Troll ribbon mic) for live use.
The Oktava is not the best SDC, but might fall into your price range with a single capsule. (But stay away from the cardioid!)
For a contact mic that might fall into your price category (I only knew European prices) there is the AKG 411 with the battery adapter that you have to buy separately. I got an old set very cheap some months ago and was impressed from the sound quality (for a contact mic). I like it better than my Ehrlund EAP.
Might not be the best for slap or extended techniques, but for more traditional (non-slap) playing it is really good and you don't have to care too much about feedback as with an air mic, specially condensers.
The Oktava is a bit weak on bass frequencies, but since in the near field there is a lot more bass than in typical hearing distance this is not a bad thing.
I tried all three basic SDC capsules, omni, cardioid and hypercardioid. The omni sounded best (but only practical for studio use), the hypercardioid not much worse (best for live use of thes three, but with caution) and the cardioid a lot worse than the hypercardioid (which is between figure of eight and cardioid).
Figure of eight seems to be useful too (I.e. Troll ribbon mic) for live use.
The Oktava is not the best SDC, but might fall into your price range with a single capsule. (But stay away from the cardioid!)
For a contact mic that might fall into your price category (I only knew European prices) there is the AKG 411 with the battery adapter that you have to buy separately. I got an old set very cheap some months ago and was impressed from the sound quality (for a contact mic). I like it better than my Ehrlund EAP.
Might not be the best for slap or extended techniques, but for more traditional (non-slap) playing it is really good and you don't have to care too much about feedback as with an air mic, specially condensers.
I used a Large diaphragm condenser (I think a Blue baby bottle which are right around 200) placed on a stand about a foot from my bridge aimed between the tailpiece and the bridge.
For a large diaphragm condenser I would take one that has at least figure of eight and omni (that usually includes cardioid as well). Maybe the noise floor is a tiny bit higher than a cardioid only, but at least you can select the characteristic that sounds/works best and you are prepared for live and studio.
Unfortunately LDCs are a bit bulky and heavy, so you might need a stand and this means you can move the bass only a little bit and that might disturb your playing looking to keep the instrument in lace.
Unfortunately LDCs are a bit bulky and heavy, so you might need a stand and this means you can move the bass only a little bit and that might disturb your playing looking to keep the instrument in lace.
Having spent many years recording, I have come to learn that - as with basses above a certain level - most of what makes a recording sound good or not has precious little to do with the gear. I currently use Line Audio small diaphragm mics that go for about $100 each (they can be heard here), but when I use a Large diaphragm mic, I get the best results out of an old super cheap Studio Projects B-1 I bought years ago for about $99 (That one can be heard here; please excuse the wrong picture below the video - it seems YouTube can't be bothered to put my music with my picture).
Getting a good recording is more about getting a good sound out of your instrument, having a good sounding space to record in, knowing where to put the mic and how to set up your input levels when recording. If your portastudio has phantom power, you should be able to find a decent condenser mic for well under $200. Most of the $100 condenser mics out right now are like the recording version of a Shen SB-100 or above bass: if you know what to do with them, you can get really great results. Good luck!
Getting a good recording is more about getting a good sound out of your instrument, having a good sounding space to record in, knowing where to put the mic and how to set up your input levels when recording. If your portastudio has phantom power, you should be able to find a decent condenser mic for well under $200. Most of the $100 condenser mics out right now are like the recording version of a Shen SB-100 or above bass: if you know what to do with them, you can get really great results. Good luck!
Chris,
Masterfull playing, I'm so glad that you used this particular microphone. Peter Axelsson who developed the Chuck Israles Signature Microphone, reccommended the Line microphones to me as a
alternative to using something more expensive for home and studio recordings. I was wondering if you are useing the Cardiod or Omni capsule versions, for this recording, as I want to get a pair but was undecided as to which capsule
design to purchase. Were you able to find someone in the U.S. who sells them? Just curious.
Regards
Ric
...and by pretty dang good I really mean f***in' awesome!!! I apologize for the derail but your playing and approach to playing is an inspiration.
-J
@JeffKissell - Thank you! The Bach stuff is my constant tormentor and inspiration.
@Ric Vice - I had a friend in the recording business here in town add mine to his order last time he ordered from Sweden, so I'm afraid I can't help too much there. These are the cardiod ones. I bought a pair of the OM-1 (omni) mics to use on the piano but haven't used them much yet. I'm sure not going to shell out $1500 for a pair of Earthworks mics for what I'm doing! And thanks for the nice review on the playing.
@Ric Vice - I had a friend in the recording business here in town add mine to his order last time he ordered from Sweden, so I'm afraid I can't help too much there. These are the cardiod ones. I bought a pair of the OM-1 (omni) mics to use on the piano but haven't used them much yet. I'm sure not going to shell out $1500 for a pair of Earthworks mics for what I'm doing! And thanks for the nice review on the playing.
I picked up an Audio Technica AT2035 awhile back (large diaphragm condenser, requires phantom power) as a general-purpose recording mic. Recording is definitely not an area of expertise for me and all I've done with it so far (that I can recall) is mic my cab with electric. That said, it seems to have worked pretty well for that purpose and to be well reviewed with a variety of sources.
You can pick one up new for under $150. Perhaps others here will have some experience with it and be able to comment on it.
You can pick one up new for under $150. Perhaps others here will have some experience with it and be able to comment on it.
There are some good, affordable mic suggestions in this thread, and I'll add that with upright bass (or any other instrument), hearing the tone of the instrument through a stereo system and hearing the instrument acoustically in a room are two very different things. I'll argue that you do NOT need to capture the full range, pristine, godly tone of the acoustic instrument. Rather, you need to capture a sound that is going to translate through most normal home stereo systems. Toward that end, do not be afraid to experiment with EQ and some dynamic processing (compression), particularly some bandwidth compression on the low end to get the bass to "sit right" in the mix. Many players are anti-compression, but I think they fail to realize that even the best and most recorded bassists were going through all analog gear and there are various instances of subtle compression happening in the signal path from the mic preamp, to the mixing console, to the tape deck.
Good words, high end large condenser microphones like Neumann's are amazing when you solo the instrument on it's isolated track, but that doesn't necessarily translate in the mix with other instruments.
It's almost always to much of a good thing. Just my take of course.
Oops! Sorry! I'm still learning how to use social media. I obviously hit the wrong tab somewhere. Anyway, thanks for the advice, Pat Harris!
