bass cabinet mics - any suggestions?

[brandondrury]

Okay, will do.

How's the upper mids on the PR 40? Boosted? Neutral?

Brandon

[Baron]

If you have an EV RE20 that has not been used on kick drum duty, then I find it works well if pointed at the cabs but at a distance that picks up the sweet spot. The re20 is quite directional. The problem with this is that unless you are overdubbing or have a separate room for the bass rig, the spill issue is a huge problem as the bass rig needs to move the air and, at this volume, it will get to every other mic in the room.

I mentioned the 'no kick drum duty' as the top end definition seems to get blown out after a lot of use in the kick drum.

Bass is a lot like drums in so far as the room will play a large part in the final sound so care must be taken with coupling/cancellation issues with nearby walls, objects, etc.

Unless you have the right space, the DI is by FAR the best way to go.

Baron

[brandondrury]

Bass is a lot like drums in so far as the room will play a large part in the final sound so care must be taken with coupling/cancellation issues with nearby walls, objects, etc.

This would explain why I haven't recorded a bass amp in well over one year.

Brandon

[Baron]

Originally Posted by brandondrury

This would explain why I haven't recorded a bass amp in well over one year.

Brandon

Hear hear.........I have used a mic to supplement but to be honest, I can't think of a sound from the bass that I wouldn't prefer the DI component as at least the majority of the final signal. Maybe if I was recording a heavily distorted product of an amp, I might go more mic but, luckily, I don't do much of that.

The only time in the last ten years I have gone for mics only, has been on double (acoustic) bass.

That, however, is a very different instrument.

Baron

[brandondrury]

I've tried blending all sorts of bass amps or even guitar amps too. In almost every case, I find it doesn't do much. Most of the music I record is on the rock side of the fence with be distorted guitars that are meant to be LOUD. In most of these cases, a lot of the subtleties of the bass end up getting lost anyway. This kind of music is supposed to be BIG and as long as the bass provides a solid foundation without being too boomy or too muddy, we are in business.

Brandon

[Eric Welch]

Originally Posted by brandondrury

Okay, will do.

How's the upper mids on the PR 40? Boosted? Neutral?

Brandon

The mids are mostly neutral but very articulate. I recently used it in an upright bass sampling session, along with a KM84. Very tasty. The samples are part of a library that will be released in a program from Notion Music called Progression if interested.

http://www.notionmusic.com/products/progression/

peace,
E.

[brandondrury]

Well, I may not to add the PR 40 to my "to buy" list. Very nice.

Holy hell! (In regard to the samples). You're not messing around. You've got some BIG DOGS on this one!

Not to hijack the thread, but I'm VERY curious about these sample sessions. Are they the most boring sessions of all time? If you are just sampling an open E on an acoustic guitar, do you really need a robo player to do it? How does that work? I know nothing about this and I'm very curious.

Brandon

[Eric Welch]

Originally Posted by brandondrury

Well, I may not to add the PR 40 to my "to buy" list. Very nice.

Holy hell! (In regard to the samples). You're not messing around. You've got some BIG DOGS on this one!

Not to hijack the thread, but I'm VERY curious about these sample sessions. Are they the most boring sessions of all time? If you are just sampling an open E on an acoustic guitar, do you really need a robo player to do it? How does that work? I know nothing about this and I'm very curious.

Brandon

The sessions while not completely boring are definitely not the most creative. That aside, editing and implementing them into the software is quite the opposite. The reason for the big players aside from the tremendous skills, is the marketing end of things.

Tracking and editing one note at a time for many layers and styles is one thing, performing it is quite another. So it really helps to get some veterans in the studio.
E.

[FarTooFrailMusic]

Mic that amp!

I use a LDC out in front about 3 feet or so. Listen in headphones while you place it. I usually put it kind of high, but you have to watch the reflections from the ceiling. My fave recently is an Oktava MK219. Try out ALL of your mics before you reach for that DI or modeler. Also, for something like indie rock etc, run the bass into a guitar head into a nice 4x12 and eq to taste. With the D112 on that setup, not only do you get good presence but it sits very easily in the mix. The metal guys love to go direct through my Line 6, which is ok but to me not the most realistic.

-Jay