#1
Well I wrote a bit in another thread on this, but basically I want to try to mic bass again.

I've tried it before, and it seems hard to get a good take. I have tried to EQ it to hell and back, and I got the nasty out, but the good as well.

So since that time I tried DI bass, and it being so easy to get a nice good clean sound, I haven't bothered trying micing again...until now.

Recording an orange bass amp next week and would like to get some tips.

The orange seems to add a warm gain to the bass when turned up a bit, so it has to be fairly loud if possible.

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#2
Possible mic choices:
- Sennheiser MD421
- EV RE-20
- SM7
- Sennheiser e602
... basically anything you might consider for kick drum - a large-diaphragm dynamic.

What seems to be the "nasties" you're having trouble with?

CT
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#3
Get a C414 XLS and an SM57, put them in front of the speaker, something like the SM57 halfway between the edge and the centre, at your discretion to put it perpendicular with the cab or 45° or something, and the C414 at the edge of the big puffy part in the speaker's centre, perpendicular to the cab.
Choose the distance depending on what fits the recording, I'd say 5cm or so from the grill.
If the cab has 10" or even 12" speakers put the mics further from the center than described above, I thought of some 15" monsters at first.
If it's 10" don't be afraid of putting them at the edge, there's a lot of bass going on there.

If you have a good sounding room, put the C414 in omni, if you don't use wide cardioid.
Also, split the signal chain before the amp and get the basd DIed so you can mix the amped signal with a bit of that if you feel like it'd sound better, or you can re-amp it with a clearer sound.

You wrote something like sludge metal in another thread.
Do you know what kind of sound is your bass player after?
Because distorted basses tend to loose low end, and maybe they want to recover low end but maybe they don't want it.
Take blur's song two's bass - it's distorted as **** and it doesn't have a lot of bass.
Do you want some not-really-bass-heavy, heavily distorted bass sound?

If you do, you may wanna try the subsonic noise bass filter on the C414, or maybe even the wind noise one, and you may also want to mix a bit of the DIed bass' mids to get a bit more clarity there if needed.

If you want something bass and sub-bass heavy, don't use any filter on the C414 and mix a consistent low and sub-low stuff from the DIed signal, or maybe even add a D12 to the cab, put it wherever you want to, it'll probably not change a lot, cut the highs from that signal and mix it with the rest.

If the amp sounds better by turning it up, by any means do it.
As you probably already read, it's not really easy to overdrive a dynamic mic and the C414 has three attenuation settings, so you can have it at the distance you prefer.

The mics I mentioned are the ones I'd use, though they're (in order of appearance) a good flat response condenser, a general purpose dynamic and a dynamic designed for low frequency sources.

Here is some other stuff that would do that I can think of at the moment:
SM57 - SM7B/SM58/MD421 - maybe the SM7B would be even better
C414 - sE4400/sE2200a mkII/sE2200c/whatever Perception works/CV12
D12 - Beta 52
Name's Luca.

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Clue: amplifiers amplify so don't turn it on if you need quiet.
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#4
Nasties is the lo mid region 200hz - 1k ish, they come up as far louder on the recording than you hear in the room, whether loud or soft.

This could very well be because of wrong mic and/or placement though.

I have not that much experience in recording amps, so hence I ask.


Spambot wow more info than I could hope for.

Yes sludge and the bass player uses indeed 2 sounds, both clean low and distorted less low (muff pi I believe).

Do you think it's best to get the lows for every part and when he uses the fuzz mix a clean Dl with it to compensate for low loss?

I only have an sm57 and at3030 atm. Do the settings as far as the condenser apply to my mic or should I do something else?

Edit: just contacted the guy, he has a 4x10 cab

Oh the room is shit sounding as far as I am concerned. yes there is some real isolation padding. but I feel it does **** all as far as reflections go and is placed there more on principle.

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Last edited by xxdarrenxx at Jan 24, 2014,
#5
Aaaight so this is what I would do, if I got it right and the two sounds he uses he can use at the same time:

Track one - you DI the thing while you record the amp with the cleaner setting, the 57 2-3cm from the speaker grille, halfway between the center and the edge, 60° or so from the cab, and the 3030 near the edge, 3cm or so and 90° or so from the cab.

Track two - dirty setting, 57 2-3cm and 90° from 2-3cm from the centre of the speaker, and the 3030 in the position the 57 was at before.

Now, this part is important as ****, don't skip it.
See, people choose EQ settings on their amps based on how they hear the sound coming out of said amps.
Thing is, mic's stuff sound different so you have to choose the amp's EQ settings based on how the thing sound when recorded.
If you have the necessary, give him isolating headphones and let him EQ the thing by himself and if you don't, the general rule is raise the bass and lower the highs.
Then when you're in the recording room or you have the headphones or you hear what the mic's are pickin' up instead of how the amp sounds in the room, tell him how to EQ that a bit.

Then you mix the two tracks using most of the distorted stuff and mostly the lows of the cleanish stuff and the DIes track, plus maybe mids from the cleanish setting.
Name's Luca.

Quote by OliOsbourne
I don't know anything about this topic, but I just clicked on this thread because of your username :O
Quote by Cajundaddy
Clue: amplifiers amplify so don't turn it on if you need quiet.
Quote by chrismendiola
I guess spambots are now capable of reading minds.
#6
Quote by Spambot_2
Aaaight so this is what I would do, if I got it right and the two sounds he uses he can use at the same time:

Track one - you DI the thing while you record the amp with the cleaner setting, the 57 2-3cm from the speaker grille, halfway between the center and the edge, 60° or so from the cab, and the 3030 near the edge, 3cm or so and 90° or so from the cab.

Track two - dirty setting, 57 2-3cm and 90° from 2-3cm from the centre of the speaker, and the 3030 in the position the 57 was at before.

Now, this part is important as ****, don't skip it.
See, people choose EQ settings on their amps based on how they hear the sound coming out of said amps.
Thing is, mic's stuff sound different so you have to choose the amp's EQ settings based on how the thing sound when recorded.
If you have the necessary, give him isolating headphones and let him EQ the thing by himself and if you don't, the general rule is raise the bass and lower the highs.
Then when you're in the recording room or you have the headphones or you hear what the mic's are pickin' up instead of how the amp sounds in the room, tell him how to EQ that a bit.

Then you mix the two tracks using most of the distorted stuff and mostly the lows of the cleanish stuff and the DIes track, plus maybe mids from the cleanish setting.



That pretty much answered everything as far as bass goes

Saved the msg tyvm.

The "Re-incarnation of Plato" Award 2009
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Who's Andy Timmons??
#7


good luck, and have fun :P
Name's Luca.

Quote by OliOsbourne
I don't know anything about this topic, but I just clicked on this thread because of your username :O
Quote by Cajundaddy
Clue: amplifiers amplify so don't turn it on if you need quiet.
Quote by chrismendiola
I guess spambots are now capable of reading minds.