51m0n Posted February 14, 2012 Posted February 14, 2012 Sorry that was directed straight at Monckyman, I was interested in exactly how he uses the two mics he mentions to mic a rig. Specifics such as distnce from mic to cone, angle of mic to cone, which part of the cone the mic will point at, how far from the center of the cone the mic is. The real nitty gritty. It is relevant, promise! Quote
Alex Spencer Posted March 3, 2012 Posted March 3, 2012 (edited) There are a lot of solid points throughout this thread, it's a really interesting debate. In the end it does come down to two factors: budget and taste. Personally I find that although the AKG D112 does handle the low end well it is also overused and it's characteristics become very generic. When looking at low end dynamics I like the Audio Technica ATM-250, but that's just me. Shure Beta SM52A is another classic. I stick an SM57 on a lot of things, It's an amazingly versatile microphone. For a musician on a budget i'd say blending a DI with an SM57 is the best way to go. If you can stretch the budget it's always good to get an omni condenser in the room too, but these don't generally start until around £200 with something like the SE Electronics Z3300a. AKG 414 is another amazingly versatile and great sounding mic, but then you're looking at £700+. Other things to consider are that may recording put out these days don't even both with micing up the cab, and purely use the DI signal, opting for a nice bass preamp. If you consider that a low E on a bass is 41Hz and most cabs don't even go that low (let alone microphone) you're losing all the fundamentals of the signal even before the end users crappy earbud headphones or tiny computer speakers have had a chance to butcher the low end of the mix. DI will keep the lows and give you the harmonic content you require, while the cab and microphone will give their own sound to the signal - so it's best to have both. Dynamics are good because the sound pressure levels coming out of a bass cab are so high that it can give negative effects if close micing with a condenser. That being said, a nice condenser in the room can boost your high mids a bit and lift the sound. Wow, I guess three years of BSc Audio Recording Technology has paid off, in a small way... I'd love to hear peoples views and opinions on my little rant. Please to PM me if you want to have a future discussion! Edited March 3, 2012 by Alex Spencer Quote
sprocket123 Posted March 4, 2012 Posted March 4, 2012 Another one would be Shure Beta 56A also , but their are so many you can use Quote
jazseven Posted March 9, 2012 Posted March 9, 2012 i've always been a fan of using 2 mics. a large diaphragm condenser (i use a rode nt1-a) aimed at the middle of the cone and a dynamic (audix i-5) at the edge but at a slight angle facing away from the centre. the blend of the 2 seems to give me the most accurate sound to what i'm hearing from the cab with minimal tweeking from software. Quote
sprocket123 Posted March 9, 2012 Posted March 9, 2012 [quote name='jazseven' timestamp='1331324207' post='1571539'] i've always been a fan of using 2 mics. a large diaphragm condenser (i use a rode nt1-a) aimed at the middle of the cone and a dynamic (audix i-5) at the edge but at a slight angle facing away from the centre. the blend of the 2 seems to give me the most accurate sound to what i'm hearing from the cab with minimal tweeking from software. [/quote] Yep , might be ineresting , like one for low mid-bass , & the other one for high mid-treble! Like a Shure Beta 56a for bass & a SM 58 for mid-treble maybe , + DI & mix them as well as you wrote there Quote
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