What Mic to use on Cab Live?

[VTypeV4]

[quote name='Myke' timestamp='1384807847' post='2281023']
Ah! I thought they just kind of didn't bother with much EQ, comp, gates etc... Makes sense now!
[/quote]

Ha,no no.. The bass gets as much attention (from me at least) as everything else because if it doesn't fit, the mix is wrecked. Sometimes making the Bass and the Kick drum sit together is tricky but the sonic integrity of the entire mix is pinned on that combination.

EQ is applied where needed usually to accentuate the strength or attenuate the weakness of a given sound. Normally a couple of dB at the appropriate frequency (ies) sorts issues. Hi-pass filter again depends on the situation as does EQ generally. Sometimes it's spot on straight out of the tin

Compression is again only applied if needed. More percussive sounds tend require a little more 'squashing' with reduced thresholds and attack times with higher ratios. Older-school sounds sometimes just need a little 'tightening' using slower attack times, a softer knee and lower ratios. Sometimes it's not needed at all with enough dynamic range to look after itself.

I don't normally need to gate the bass as if it's excessively noisy or unstable for any reason, there's usually a problem elseswhere such as a groundloop or the DI out has a poor Signal / Noise ratio.

It's all about making it fit together and I find the great bands I deal with get that. And the not so good? Well they simply don't!

Every good sound engineer should consider all of these things (and more) when mixing the bass in any group as most are greater than the sum of their parts, a synergy so to speak. The bass player is nearly always the 'binding agent and multiplier' IMO.

Edited November 18, 2013 by VTypeV4

[Myke]

[quote name='VTypeV4' timestamp='1384815441' post='2281195']
Ha,no no.. The bass gets as much attention (from me at least) as everything else because if it doesn't fit, the mix is wrecked. Sometimes making the Bass and the Kick drum sit together is tricky but the sonic integrity of the entire mix is pinned on that combination.

EQ is applied where needed usually to accentuate the strength or attenuate the weakness of a given sound. Normally a couple of dB at the appropriate frequency (ies) sorts issues. Hi-pass filter again depends on the situation as does EQ generally. Sometimes it's spot on straight out of the tin

Compression is again only applied if needed. More percussive sounds tend require a little more 'squashing' with reduced thresholds and attack times with higher ratios. Older-school sounds sometimes just need a little 'tightening' using slower attack times, a softer knee and lower ratios. Sometimes it's not needed at all with enough dynamic range to look after itself.

I don't normally need to gate the bass as if it's excessively noisy or unstable for any reason, there's usually a problem elseswhere such as a groundloop or the DI out has a poor Signal / Noise ratio.

It's all about making it fit together and I find the great bands I deal with get that. And the not so good? Well they simply don't!

Every good sound engineer should consider all of these things (and more) when mixing the bass in any group as most are greater than the sum of their parts, a synergy so to speak. The bass player is nearly always the 'binding agent and multiplier' IMO.
[/quote]

Seems like you know your sh*t!

I've only had the feeling I was being properly mixed maybe twice in all the gigs I've done but maybe that's because it was the only time I needed it!

[VTypeV4]

Thanks for the compliment but it's only like you and your valve amps, Mikey..

I'd love to be able to contemplate a project like yours but just don't have the experience or electronics knowledge. I get the theory but putting that into practice is beyond me!

I have many years experience as a live engineer. I've been lucky to use both decent and shoddy kit but for the most part, people (band members, venue owners, tour managers etc) don't care as long as the result is achieved so knowing the kit and hearing what you intend to achieve before it happens becomes second nature. It's not always possible if the system is half blown up or massively under-powered but on the most part it is possibe.

Sorry if this is a thread-jack!

[Kevin Dean]

I have a Ahsdown Abm 1000 & Barefaced super compacts Rig , I love the sound I get , but as I don't want to deafen myself I've tried DI to let the PA do the work but it just doesn't sound like my rig , I'm going to try a mic .

[mike257]

What kind of gigs are you playing? When you say you aren't liking the sound of the DI, are you not liking what you get in your monitor, or what you can best when stood behind the PA on stage?

I prefer using a DI taken before any effects for a big clean low end and a mic on the cab for mid/hi, but a DI alone can get a good sound in most situations if that is all that's available.

[Lozz196]

And is it pre or post eq that`s going to the PA? I`ve found with my rig, having Barefaced cabs is great, as pretty much what I get through the cabs is what ends up FOH (post-eq of course). That`s also one of the reasons I don`t use tweeters, in case the cab is miked. I don`t want to have a sound on-stage that I can`t get to FOH easily.

Edited May 25, 2016 by Lozz196

[HazBeen]

AKG D112 or Shure Beta 57 for me. Slightly prefer the D112..

[Kevin Dean]

Thanks for every ones advice , The other night I tried a JTS NX mic & it did the job unlike the DI I didn't have to do anything on the PA eq , I jut plonked the mic about 3" in front of the BF cab using a cab mic holder .