Hanshananigan Posted March 10, 2005 Share Posted March 10, 2005 Hi All, I've been recording my Peavy Dyna-Bass (active) into Powertracks this way: RNC compressor --> mixer --> Audiophile (USB) Well, I'm not happy with the sound- not enough cahoonas. However, I like my cabinet sound- warm, punchy, "even" (kinda that natural compression). I'm thinking about mic'ing my cabinet (1x15) straight or running two signals, one DI and the other mic'ed. We have several mike choices laying around, but most are mid-quality multipurpose mics like 57s and 58s. We do, however, have a Shure Beta 52 our drummer used to record kick. My question is whether the Beta 52 would be ok (other posts seem to think so), and whether you would suggest any particular eq'ing to separate the bass and kick, considering we're using the same mic? Thanks in advance! Link to comment Share on other sites More sharing options...
cloclo Posted March 10, 2005 Share Posted March 10, 2005 i'm just an amateur at this stuff: the 'oomph' of the kick comes from 200Hz and below. the audible 'kick' (so you can still here the bass drum when listening on small radio/car/pc speakers instead of the studio monitors) might be somewhere around 600Hz (this depends, how big is the bass drum, is it open or closed, does he let the bass drum ring or does he keep the pedal against it al the time...). try out some frequencies for your particular sounds. remember that to take away frequencies (on the mixing board, or in the mix) is easier than to try to add frequencies that aren't there to begin with... for the bass: try bumping 250Hz. afterwards compress it a bit in the mix and see where this gets you... bassdrum: bump 200hz and below, bump 600Hz (or 700Hz or..., experiment) bass: bump 250 to 300 Hz for mikes, compression, recording Jay Gradon wrote quite some texts... (scroll down for links, it's for guitar but is really quite general also) ah, and always experiment. put the mic in the air-hole of the bass cab or whatever, who knows... have fun! when you got it all mixed, burn a cd and listen to it on different players and speakers (car, discman, hifi, lofi, ...). this gives you an idea of what should be changed. (sorry, english isn't my native language) Marvelas Something Link to comment Share on other sites More sharing options...
getz out Posted March 10, 2005 Share Posted March 10, 2005 I like cloclo's suggestions. I've shared kick and bass-cab mics all the time; the key is to get separation between the kick and bass, as cloclo suggested. Link to comment Share on other sites More sharing options...
Tenstrum Posted March 10, 2005 Share Posted March 10, 2005 I use an AKG D112 (Ugly Duckling) to mic my bass cabinets and also run a line out of the DO on the back of my amp as well. Tenstrum "Paranoid? Probably. But just because you're paranoid doesn't mean there isn't an invisible demon about to eat your face." Harry Dresden, Storm Front Link to comment Share on other sites More sharing options...
wraub Posted March 10, 2005 Share Posted March 10, 2005 If you are planning on using the same mic for bass and drums, definitely record your bass on both miced and DI channels. This will add the character of your bass (and DI) to the mic sound, give you something to help differentiate between the kick and bass. Cloclo's EQ tips seem sensible, and definitely experiment with the mic position. Who knows, you might find the best drum sound with the mic inside the shell, and the best bass tone with a DI and the mic in the corner of the room. Have fun! Peace, wraub I'm a lot more like I am now than I was when I got here. Link to comment Share on other sites More sharing options...
Max Valentino Posted March 10, 2005 Share Posted March 10, 2005 If you do decide to record your bass both mic'd and DI'd, remember there will be some phase cancellations occuring due to the delay of the mic channel. You can compensate, and correct this phase anomally by adding a delay to the DI'd track (plugins will work fine). The time set is 1ms for every 12 inches from the cone your mic is placed. For instance if you mic your cab from a distance of 18" (and remember placing a mic too close...as you often see done with gtr cabs...might not be the best way to get some "air"), then add a delay of 1.5ms (this is quite short...but it will make a world of difference when you mix those tow tracks/sounds together...as you put it "cahoonas") to the DI'd track. Max ...it's not the arrow, it's the Indian. Link to comment Share on other sites More sharing options...
Nicklab Posted March 10, 2005 Share Posted March 10, 2005 The AKG D112 is often used to mic bass cabinets along with kick drums. It's generally pretty good. A better choice for you might be the EV RE-20. It's a more full range mic, and you can use it for a variety of purposes. It's definitely more versatile than the D-112. Obligatory Social Media Link "My concern is, and I have to, uh, check with my accountant, that this might bump me into a higher, uh, tax..." Link to comment Share on other sites More sharing options...
cloclo Posted March 10, 2005 Share Posted March 10, 2005 ooh yes, what wraub (and valentino) said about recording mic'ed and also DI > very true! for example: you can eq and compress the mic'ed channel for fatness, and mix that with the DI channel to get more articulation and to position it better in the mix. just see to it that the fun and excitement is in the recording. if that means playing air guitar next to your guitar player when he's recording (to give him some sort of live feeling ), well, do that then... you'll be happy you did afterwards, if not, you did have a good laugh anyway... Marvelas Something Link to comment Share on other sites More sharing options...
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