Need help for miking Acoustic Bass
- Thread starter Steve M
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With a dynamic like a 58 try wrapping the mic is some cloth or padding and stick it on the bridge, just lay it right in there! I did this once a while back, combined with the DI from the pickup it turned out decent enough. (It was a crappy dynamic though)
Recently for some bowed bass, I used a NT-1 about 16 inches from the body of the bass pointing right at one of the f holes.
-jhe
Recently for some bowed bass, I used a NT-1 about 16 inches from the body of the bass pointing right at one of the f holes.
-jhe
Thanks James,
Why the need to wrap the mic since its a dynamic mic? Also, why mic at such close proximity, as opposed to the distance you mic a bass with your NT - 1? (I forgot to mention, if it matters, the bass player will be playing walking bass lines, no bowing will be used.)
Thanks again,
Steve M
Why the need to wrap the mic since its a dynamic mic? Also, why mic at such close proximity, as opposed to the distance you mic a bass with your NT - 1? (I forgot to mention, if it matters, the bass player will be playing walking bass lines, no bowing will be used.)
Thanks again,
Steve M
Steve,
Sorry if I wasent specific enough. You wrap the mic because you are putting it, bass-ically
, inside the bass! No stand! Wrap it and stick it in the bridge. Keeping it on there however you see possible. Wrapping it seperates the mic from the bass physically, otherwise you would get way too much vibrations from the body. And also protects the bass. I think with only a 58 this little trick will get you closest to an upfront, punchy sound. Or if you have a very nice, quiet room, and a very quiet pre-amp wit a LOT of gain you could point the 58 foot or so in front of one of the f holes (which ever is most out of the players way) and start from there, point it of axis towards the strings/bridge for more attack of the strings, point it up for a more woody, lower mid sound, and down for a little balance of both. EXPERIMENT!
-jhe
Sorry if I wasent specific enough. You wrap the mic because you are putting it, bass-ically
, inside the bass! No stand! Wrap it and stick it in the bridge. Keeping it on there however you see possible. Wrapping it seperates the mic from the bass physically, otherwise you would get way too much vibrations from the body. And also protects the bass. I think with only a 58 this little trick will get you closest to an upfront, punchy sound. Or if you have a very nice, quiet room, and a very quiet pre-amp wit a LOT of gain you could point the 58 foot or so in front of one of the f holes (which ever is most out of the players way) and start from there, point it of axis towards the strings/bridge for more attack of the strings, point it up for a more woody, lower mid sound, and down for a little balance of both. EXPERIMENT!-jhe
Thanks again James. Please excuse my slowness to get the picture, but you didn't mean to wrap the entire mic including the ball of the mic too, did you? Wouldn't that distort the freq. response of the mic an awful lot? Or were you just saying wrap the mic (except for the ball)as a way to better physically locate it in relation to the bass?
Bass-ically Missing It,
Steve M
Bass-ically Missing It,
Steve M
Were talking upright here right? heh I just got the idea that maybe you are asking about an acoustic bass of the non upright variety. If so you must think I'm crazy! Well basically you want to wrap around wherever the mic is making contact with the bass. If I had an upright physically in the room I'd be able to more accuratly say what I'm geting at, but it was a while ago since I did that. No wait, I think I have one in my pocket...
Oh well, it's kind of a crazy idea that I picked up from somewhere, and I probably got it wrong when i did it, so how am i supposed to accuratly tell you how to do it.
This was a trick to bass-ically (there it is agian) reduce bleed of other instruments into to the upright mic, if you can isolate the bass, then I think a more traditional micing technique would be more sufficient.
-jhe
Oh well, it's kind of a crazy idea that I picked up from somewhere, and I probably got it wrong when i did it, so how am i supposed to accuratly tell you how to do it.
This was a trick to bass-ically (there it is agian) reduce bleed of other instruments into to the upright mic, if you can isolate the bass, then I think a more traditional micing technique would be more sufficient.
-jhe
I once recorded bassist Darek Oles (LA Jazz Quartet) in a loud, live, mini warehouse of a recital hall with an SM-57 and the recording made it to press! (And no one has complained about the bass sound) So basically, if the bass sounds good and you have a quiet pre-amp (like James said) you should get very useable results.
If I remember correctly, we had the mic no more than 12 inces from the F-hole pointing right at it. Isolation wasn't even an option as Darek was right next to the ride cymbal. Still, the results were very good. There was even a tune that was only sax and bass. Everyone loved the way it came out.
Sometimes we all underestimate the capabilities of good dynamic mics (and both SM's fit in that category). On this bbs we sometimes think the large diaphragm condensor is the holy grail. How many times have you seen/heard great sounding performances on TV and realised that the multi-millionare superstar is singing into an SM-58? Quite a bit right? And it usually sounds great.
Fear not Steve. The 58 can do the job!
...and this is from someone who now proudly owns a couple of Neumanns. (of course I might use a different mic now that I have lots more, but the point is the 58 can and did get professional results)
:>saxman72<:
If I remember correctly, we had the mic no more than 12 inces from the F-hole pointing right at it. Isolation wasn't even an option as Darek was right next to the ride cymbal. Still, the results were very good. There was even a tune that was only sax and bass. Everyone loved the way it came out.
Sometimes we all underestimate the capabilities of good dynamic mics (and both SM's fit in that category). On this bbs we sometimes think the large diaphragm condensor is the holy grail. How many times have you seen/heard great sounding performances on TV and realised that the multi-millionare superstar is singing into an SM-58? Quite a bit right? And it usually sounds great.
Fear not Steve. The 58 can do the job!
...and this is from someone who now proudly owns a couple of Neumanns. (of course I might use a different mic now that I have lots more, but the point is the 58 can and did get professional results)
:>saxman72<:
Saxman,
Thanks for the good tips and encouraging words. I don't know the name Darek Oles, but I've heard of the L.A. Jazz Quartet. I used to play bass for jazz singer Marilyn Maye in the Houston area (the guy whose bass playing I need to be able to record played bass for Marilyn before myself) but now days I mostly play jazz guitar and try my best to record my arrangements and compositions using Steinberg's Cubasis VST. Anyway, thanks again.
So have you heard Wayne Shorter's latest? I'm not sure if its been released yet, but I'll hear cuts from it on the jazz stations here in Houston sometimes. What a genius that guy is! Very interesting and intelligent playing.
Steve M
Thanks for the good tips and encouraging words. I don't know the name Darek Oles, but I've heard of the L.A. Jazz Quartet. I used to play bass for jazz singer Marilyn Maye in the Houston area (the guy whose bass playing I need to be able to record played bass for Marilyn before myself) but now days I mostly play jazz guitar and try my best to record my arrangements and compositions using Steinberg's Cubasis VST. Anyway, thanks again.
So have you heard Wayne Shorter's latest? I'm not sure if its been released yet, but I'll hear cuts from it on the jazz stations here in Houston sometimes. What a genius that guy is! Very interesting and intelligent playing.
Steve M