That's furcktarded, it's like an inside out Danelectro. The neon red is a nice touch though LOL.
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
That's furcktarded, it's like an inside out Danelectro. The neon red is a nice touch though LOL.
More Qs re: EV RE20 and Shure SM7b:
1. Are either good for live use (micing bass cab)? Is one better than the other?
2. If either are suitable for live use, are either usable live via "dangling" them in front of the cab i.e. no mic stand? If possible, I'd like to avoid schlepping an extra stand around.
1. Are either good for live use (micing bass cab)? Is one better than the other?
2. If either are suitable for live use, are either usable live via "dangling" them in front of the cab i.e. no mic stand? If possible, I'd like to avoid schlepping an extra stand around.
They are both end address mics, so A. You need a stand and B. They take up a lot of real estate due to their size. RE20 has a stand off between the grill and capsule, so not as much proximity effect, but the SM7 is actually desired for its proximity effect (bass buildup), and needs some stand off distance/ more real estate. Bleed becomes an issue at higher volumes.
I've been happy with an Audix D4 for the last couple years. Sounds good, is very light and compact, super tight pickup pattern, and I can use a Cabgrabber with no issues, keeping the stand off the floor.
Ender_rpm addressed it, they're both rather large, long, awkward mics that need an appropriate stand. If you need something to dangle off the side get a side address dynamic mic, they don't need to be low end frequency specific. Any mic you would use on a guitar cab would be fine for bass live, especially in addition to some DI off your amp, board or bass for low end throug a sound system. When live sound engineers put things like kick mics on bass cabs it drives me crazy, because they have a really extreme EQ curve that isn't very flattering on bass and pretty much makes it disappear in the mix. Personally I think the SM7b is a bit more live friendly, as it has a lot of off axis rejection and is a bit easier to position, but either would be fine if used properly. I think the RE20 might be a little better for typical bass use, its frequency curve sounds a little more flattered to electric bass, but the SM7b is really usable for a lot of different things and is really rugged, which is why I plug it so much.
Thanks for the replies. New thought: would the MD421 work for live use via "dangling"? If you recall, I'm happy with it for recording, just looking for an extra mic with a different voice to add to the mix. I could always use the MD421 live and keep the second (RE20 or SM7b) for recording only.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Have you tried dangling it? It's also an end address, so I can't really see it working THAT well in that application.
As noted by Corey, if you have the luxury of 2 channels, a mic + DI set up is ideal. Then you can use a less expensive side address like the Senn E 609 or 906 with the DI taking care of the low end. Though, to be fair, its unlikely that much of the DI signal would be in FOH, as its pretty easy to add bass via EQ.
i plan on getting two ampclamps and an AKG P2 + SM57 once i have my two cab setup, plus a clean DI from the peterson tuner i just ordered for myself for christmas. sound guys are gonna love me.
Is that the DOD250 I see? I haven't seen anyone besides myself using that one. It's a recent addition to my board, but actually replaced my B3K in that spot! (The B3K is now after the bulk of my chain, as I feel it can add to both my OD and Fuzz loops in the right circumstances, and now I can just set the loops to bypass and easily use only B3K.) Anyway, how do you set the 250? Mine's about 9:00 on gain, and unity for level, going into a Blower Box also set relatively tame. Both sound great solo, and crush together!
I'll probably just forego using my own mics for live gigging, then. I really just want a second option for recording. For most of my gigs, I have enough juice to fill the room and the sound guys & clubs in my area usually have their own mics.
ooh. i wonder how the neck one sounds.
i use the DOD 250 currently as well, boosting my tube amp and gain nearly max for a super snarl blended in with my bluebeard. it will be dethroned by the germanium cthulhu fuzz though i am sure..
Just picked up a Morley tel Ray PWO for $50 at a local pawn shop 
. I love getting off work early
. I love getting off work early
I use my DOD250 to add a bit of grit to my super clean Dunwich preamp. I run it with gain at around 11 o clock and volume around 1 o clock. Its an always on.
I did use it to drive a VTM 60 into crushing territory for the overdubs on the GH song were recording.
I did use it to drive a VTM 60 into crushing territory for the overdubs on the GH song were recording.
i don't like 810s a hell of a lot but this was an interesting demo - especially because he plays such a varied bunch of styles!
all 3 of mine sound slightly different.... slightly. live you'd probably never tell
cool demo. just proves they pretty much sound the same in a mix and I couldn't pick them out in a blind test. the solo clips you can hear the variations. The vietnam cab with the B810s sounds like crap on it's own. My B810s do not sound like that at all.
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