Rickresource Rickenbacker Forum

This has been done before, but what does everyone use when miking their signal? Someone suggested a kick drum mike is best for bass. Personally I think maybe something like a shure 57 would work.

I use a sm57 ... I would not use a kick mike ... and I refuse to use the xlr out from the back of my ampeg b2r ... the xlr out makes for a harsh cold artifical sound ... if you have a good sound coming out of your speaker then mike them and use a sm57 ...

The XLR direct out on my SWR Baby Blue II combo does sound very good, so I guess it really depends on what you use. I have read that the Royer ribbon mic is excellent for bass. Years ago I used to use a Western Electric 639B ribbon mic and it too sounded excellent for recording my 4005WB.

I like using kick drum mics myself...

AKG D112 on my 15" - great lows...very rich sounding mic!

Shure PG52 on my 4x10 (not the greatest mic, but a good 2nd signal to get highs/mids)

I also run a direct XLR out of my Yorkville XS400 head into the board.

Blend 'em all & I'm very happy with my recorded tone.

I've found my best tone using a combination of a Shure 57 at one of my 10's and the direct out from my Ampeg SVP-Pro. It uses two channels on the mixer but gives a great full tone. The direct out gives a super clear full range tone and the mic provides the character. It's a great combo.

58's and 57's, I've used bass drum mics also and like the little boost 58's and 57's give to the midrange.

Sennheiser 421

Options to consider... I've gotten some very good results with Audix D4's and D6's.

Remember... no matter what mic you use, play around with placement. You wouldn't believe the difference an inch or two closer to or further away from (or left or right of) the cone can make. Happy tracking!

Time again to post this link...

http://www.prorec.com/prorec/articles.nsf/files/C05204C8DC2968B78625665000797D4D

I use an AKG D112, both live & in the studio. An SM 57 alone, just does not have the lo-end frequency response to handle a bass gtr, although Bobs dual mike & Chris's multi mic idea, combining a lo-end mic with a mid range mic is undoubtedly the best combination (which is basicaly what Brian is doing as well).

I used to think my xlr out sounded good until I started using in ear monitors ... then I could really hear it ... I mike it the same way a keyboard or guitar speaker cabinet would be miked ...

That's a really good article Ilan and I happen to think Chuck Rainey is one of the best bass players to have ever come down the pike, his playing is spare, he gets a great sound and his stuff is almost subliminal sometimes it's so good like the article intimates. Listen to the AJA album, Steely Dan, unbelievable rhythm section, he and Steve Gadd. He plays exactly what you would think the track needs and makes it sound simple like all great players do.
Tony I meant either a 57 or a 58 as they are essentially the same mic, the 58 just has the wind screen and I'm also talking live. In the studio they'll usually they throw a DB on also although I also tell them to use as little as possible. I get a great sound out of a mic'ed SVT in the studio BTW. Another combo I use in the studio is an SVT head with a B-15 bottom. Either combo is fat and clear, the B-15 cab has a slightly more middy sound to it, the SVT cab is more hifi sounding. (I realize some people here will not agree with that last statement, but it's as hifi as I want it, tweeters are for stereos IMHO, haha!)
A problem I have with studios and sound men is they want the modern trebly hifi sound and I don't want that, I want the old 60's thumpy sound out of my bass. A lot of sound people don't know what bass is anymore. They try to make it sound like a low pitched guitar.

In Recording, and Live sound, the commons are:
DI, and Mic the bass. Blend the two to get the sound your looking for. Thats where the commonality ends. The DI path, is either from the guitar using a DI box, or an XLR out, or some kind of active preamp. Mics choices vary wildly. SM57, D4, D6, EV868, Beta52, AKGD112, Senn421 are some of the mics I use on bass, usually a preference from the artist, or the artists sound guy. Personally when I record, I use the DI out on my amp(yes Jeff, a B2R) post preamp, and a large diaphram no lo cut on one of the 8-10" speakers. Often we will route the clean DI signal through a Night Bass modling preamp, and blend the mic and DI sound to get the bass. Its important to use a mic on bass (and Kick drum) that are designed to handle the sound pressure (SPL) of the signal. An sm57 I find breaks up at a lower level, then the others mentioned above. 421's used to be a great mic, but the newer one suxers IMO. D4, D6 are prolly my two favorites for live sound, coupled with the DI. As to the article, I disagree the bass is the hardest sound to get in the studio. Im thinking snare drum.

I've never head any problems with either 57's or 58's breaking up and I play through an SVT at pretty loud levels sometimes, but then again the sound is split up through 8 speakers. I also don't allow DI's anywhere near my rig live, unless I implicitly trust the sound man which is not very often. I want my mic'ed tube SVT sound with my EQ settings coming through the house not the dry DI. I usually end up surprising the sound guys with how good it sounds like that. I think any engineer who is good enough to work with Chuck Rainey probably knows what he is talking about.

most sound men don't want to mike the bass cab ... they want to use the xlr out ... but the way that reproduces highs and mids is unsatisfactory ... most of the time I don't get 2 channels in the PA ... so if I only get one it will be a mike ... but Greg is right ... the best way to record a bass is to have 2 or 3 signals and blend them ...