Discussion in 'Bass' started by WRX07, Feb 6, 2005.
...besides an AKG D112, Shure 52, Audix D6 or a Sennheiser MD421.
to each his own man. when i can't decide on which model to get on something,, i always felt that 90% of the time you get what you pay for with recording gear. read the specs on them and see if one compliments/looks like it will work well as a team member of your other drum mics. then it's all a matter of how you use it.
If you're thinking about using the same mic on bass as you do on kick you very well may have some difficulty in getting all the separation you'd like to get when mixing... I would suggest something like a 421 for kick and an RE-20 for bass... or if the budget will allow a Soundelux U-195 for kick and an RE-20 or 57 for bass... the 57's work really well against U-195's... but will often lack "meat" against a 421.
Best of luck with it.
Sehnheiser is not good sounding kick mic IMO
I would go the other way and use the RE20 on the kick and the 421 on the bass cab.
I prefer a U87 on bass cab about 2-4' out. It captures the whole spectrum. I don't hear many people mention using a LDC on bass cab but I've gotten my most natural "sounds-like-your-there" recordings using this setup.
It works like a charm for me (the 602 ,that is). I also recently used it for the bass mic on a B3 leslie and the player said it was the best bass tone he'd ever heard on a recording he'd played on.
I'm biggist fan of AGK D112.
These sounds are recorded with AGK D112 at kick sound and same drums, same outboard, same room.
Only differant drum head and mic position.
I think it's very flexible on miking point.
Hmmm,almost every thread is finished with Your links :?
I always use the same mic on the bass drum and bass guitar amp and it works for me.
I think it helps to start in that same place.
My pref is for either RE20's or SM-7's.
And one of each works reasonably as well if two of one type are not available.
Separation, is usually much less of a problem for most people than having them sound disconnected from each other, which will make the whole bottom of the record feel 'uncomfortable'.
And it should go without SAYING that the entire record, or at the very LEAST, the entire rhythm section, is recorded through the same mic pres.
By SM7, is it in reference to Shure SM7 B? I think I'll check out the RE-20. Until I can afford a U47 fet, that is . Thanks, a lot everyone.
Either the original SM-7 or the newer ones.
I don't PERSONALLY think the 47fet is a great bass drum mic for most situations.
Can work for a jazz ensemble or when you mic the front head from outside.
But for a rock, or typical pop, sound, not my favourite.
I had fixed my links
check it, uppper my topic..
Or, for that "old" kick sound a vintage AKG D12.
And, as always, mix to taste with a recorderman sub mic.
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