Mic for a bass cab?

[Finbar]

So I like to have my cab mic'd at gigs, but venues rarely have an appropriate microphone for the job really. With the rig I have planned, I'm going to want to be a little more insistent about the mic'ing situation, so I don't want to be met with 'we don't have enough mics for that' or anything else, so I'm really considering buying my own microphone for the job. Could also come in handy for home recording our stuff should we ever get to doing that.

Soundguys will probably hate me.

But what is the best type of mic to buy for this?

I'll be running distortion and other effects through it, and I play a 7 string bass so there's quite a lot of highs going on, but I also don't want it to lose all the lows and make it sound tinny like some mics seem to do to the signal.

[Dubs]

Try an AKG D112 or Shure SM57 - I've used both live and in the studio (at the same time) and both do great but subtly different jobs. If you're feeling quite flush then get an AKG C414 - f***ing amazing for any application in any situation

[mike257]

A big fat plus 1 for the AKG D112. It's pretty standard issue for bass cabs and kick drums, so a lot of venues will have one (or something similar) knocking around.

The 57 is nice too, although you won't get as much hefty low end out of it, you could have them blend it with a DI. You'll have to find a very friendly soundman who'll give up two whole channels just for the bassist though!!

[Noisyjon]

IMO you can't beat a Shure Beta52 on a bass cab.

[Finbar]

[quote name='mike257' post='408795' date='Feb 13 2009, 04:53 PM']The 57 is nice too, although you won't get as much hefty low end out of it, you could have them blend it with a DI. You'll have to find a very friendly soundman who'll give up two whole channels just for the bassist though!! [/quote]

That's my plan, haha. I'll be running my effects into one cab (mic'd), and a clean(ish) tone into a second cab (DI). They will hate me.

[BigRedX]

I ran a true bi-amped rig with different effects feeding into each side of the crossover all through the 90s and never had any problem persuading the soundman that I needed two channels on the PA.

[Finbar]

Sounds promising

I'm hoping that I'll be okay with them I've had some that refuse just to mic the cab at all. We only have one guitar though, so I can't see why it would be more work than simply mic'ing a second guitar amp for a different band setup really. I'm getting quite giddy about this rig already though.

[High score]

[quote name='Finbar' post='407182' date='Feb 12 2009, 12:19 AM']So I like to have my cab mic'd at gigs, but venues rarely have an appropriate microphone for the job really. With the rig I have planned, I'm going to want to be a little more insistent about the mic'ing situation, so I don't want to be met with 'we don't have enough mics for that' or anything else, so I'm really considering buying my own microphone for the job. Could also come in handy for home recording our stuff should we ever get to doing that.

Soundguys will probably hate me.

But what is the best type of mic to buy for this?

I'll be running distortion and other effects through it, and I play a 7 string bass so there's quite a lot of highs going on, but I also don't want it to lose all the lows and make it sound tinny like some mics seem to do to the signal.[/quote]

Actually sound guys will love you. Wish I had met more forward thinking musos!! Using DI from a bass rig is sometimes inconsistent and it is shame a lot of musos just see a mic as a back up. If the desk has enough spare channels, ask the soundman to both DI and mic. That way you can EQ the channels differently and decide what you want to put out front.

Shure SM57 is fine for most instruments but go for the Shure pg52. Specifically designed for the kick drum and low sub levels of a bass stack. Just remember that one of the issues of using a mic on your rig as opposed to using DI is the potential for picking up rumble from the floor if you are on a small stage as well as other ''chatter'' from instruments around you. Other benefits though are the ability to alter the sound you are sending to the desk just through mic position ie where it is positioned relative to the speaker cone.

Have fun with it and never be shy in telling the soundman what you would like !!

[Dan_Nailed]

Just my view, but I wouldn't wish a D112 on my worst enemy. I hate the things, only kick mic we had at the Witchwood for years. Flabby and loose to me.

My vote goes towards Shure Beta 52 if you can afford one. They're cool.

57 and DI works for me when I can get two channels but that's with one ab, one signal blended. If you're running effects & clean signals then the 57 won't be good, doesn't capture enough frequency range!

[99ster]

The mutt's nuts for bass cabs, guitar cabs, kick & brass (& great for some vocalists) is the Electro Voice RE20 (or RE27). Expensive but fantastic.

[Dan_Nailed]

[quote name='99ster' post='409650' date='Feb 14 2009, 08:40 PM']The mutt's nuts for bass cabs, guitar cabs, kick & brass (& great for some vocalists) is the Electro Voice RE20 (or RE27). Expensive but fantastic.[/quote]

I very nearly suggested this as they're truly great, but I didn't want to suggest one of the more expensive options

Also you could try a Sennheiser MD421 if you've got wonga to chuck around. They're brilliant as well.

In fact you're pretty spoilt for choice here and there's always a few used mics on Ebay, all these suggestions will do a great job, except a D112 IMO.

[joegarcia]

I personally don't like Beta52's or D112's on bass cabs. Kick mics in general always seem too scooped to me and are often really mushy because of all the low boost they tend to have. Combine this with the exrta bass you tend to get from the close proximity needed on loud stages and you're often left with rumbly mush. I usually plump for a 57 or beta57 along with a di then roll off high end on the di and sometimes some low from the 57.

My favourite all around dynamic mic for using by itself is the Beyer M88 though.



Very well balanced to my ear so gets warm, uncoloured low end and sounds flat right up to the top end. They are absolutely fantastic and get some deservedly glowing reviews if you search around. Close second (sometimes preferred over the M88 but depends on situation) are the older Sennheiser MD421's.




I work full time as a live sound engineer so have invested in a few mics for various purposes.
Currently, I carry two Beta57's (I have several cabs which produce different signals) and an Audix D6 (which I have had some good results with) to gigs I play but an M88 and an old MD421 are on the shopping list.

[joegarcia]

[quote name='99ster' post='409650' date='Feb 14 2009, 07:40 PM']The mutt's nuts for bass cabs, guitar cabs, kick & brass (& great for some vocalists) is the Electro Voice RE20 (or RE27). Expensive but fantastic.[/quote]

Oh yea, and this of course if you can afford it.
Sometimes a bit cumbersome in front of cabs on tight stages though, but great in the studio.

[gcordez]

EV RE20- amazing for everything.

[alexclaber]

I would always avoid using the same as that being used on the kickdrum otherwise you'll end up fighting each other to be heard. The cheaper kick mics are all very mid-scooped (I mean relatively cheap, I know the D112 isn't exactly disposable!) which works great for getting thump and click without honk and mud from a kick but sucks all the growl and punch out of a bass guitar. SM57 goes pretty damn low with proximity effect if you close mic, haven't used an M88 but have heard fantastic things about it. RE20 is amazing if you're feeling bling!

Alex

[99ster]

[quote name='alexclaber' post='411712' date='Feb 17 2009, 09:10 AM']I would always avoid using the same as that being used on the kickdrum otherwise you'll end up fighting each other to be heard. The cheaper kick mics are all very mid-scooped (I mean relatively cheap, I know the D112 isn't exactly disposable!) which works great for getting thump and click without honk and mud from a kick but sucks all the growl and punch out of a bass guitar. SM57 goes pretty damn low with proximity effect if you close mic, haven't used an M88 but have heard fantastic things about it. RE20 is amazing if you're feeling bling!

Alex[/quote]


I got a used RE27 (a souped up version of an RE20) off eBay for £200 from some guy in Canada.
Retail price in the UK? £923!!!
RE20's normally go for about £400 new - so used ones should be out there for £200 or less?

[cheddatom]

[quote name='Finbar' post='409049' date='Feb 13 2009, 09:07 PM']That's my plan, haha. I'll be running my effects into one cab (mic'd), and a clean(ish) tone into a second cab (DI). They will hate me.[/quote]

I've done loads of gigs with a DI and mic. I would basically tell the soundman to treat my guitar combo as a 2nd guitar, and the DI as the bass. They never had a problem.

IMHO you won't be able to get a mic far enough away from the cab to capture real lows. I think practically you will have to use your DI for the low end, and a mic for your effects cab. In this situation, the house guitar mic will suffice. So, my advice is, don't get a nice mic and carry it around to every dive pissing off half the soundmen. Just give them a DI and ask them to treat your effects cab like an extra guitar.

[51m0n]

+1 for senn md421

or on a different tack I've heard the Heil PR-40 is staggeringly good too if you want something that is of similar quality to the EV RE20 but about half the price.

If I had the cash I'd get an EV RE20, failing that I'd go for the PR40, after that the Senn and lastly an SM57.

Senn E835 is a very cheap SM57 alike thats rock solid IMO. Certainly good enough for chucking in front of a bass cab, you know since that can be any old rubbish

[alexclaber]

[quote name='cheddatom' post='411839' date='Feb 17 2009, 11:56 AM']IMHO you won't be able to get a mic far enough away from the cab to capture real lows.[/quote]

With a sealed cab you'll get full bottom however close the mic is to the speaker. With a ported cab some distance may be required so you get the port output in sufficient quantity, but not much distance especially with a cab whose port is close to the driver.

Alex