Best Bass Microphones for Recording Bass Guitar and Upright Bass

Capturing bass frequencies presents unique challenges that require specialized microphones capable of handling extreme low-end energy. Whether recording bass guitar amplifiers or acoustic upright bass, the right microphone preserves the fundamental weight while maintaining the clarity and definition that helps bass translate across playback systems.

Best Microphones for Bass Guitar Amplifiers

Bass amplifiers produce massive low-frequency energy that requires microphones designed to handle high sound pressure levels without distortion. The AKG D112 MKII ($199) serves double duty as an excellent bass amp microphone, capturing tight low-end with clear midrange definition.

The Electro-Voice RE20 ($449) has become a studio standard for bass amp recording. Its Variable-D design eliminates proximity effect, allowing close-miking without excessive bass buildup. The smooth frequency response translates bass tones accurately without coloration.

The Sennheiser MD421-II ($379) offers a different character with pronounced midrange that helps bass cut through dense mixes. Its bass roll-off switch provides tonal flexibility for different amp and cabinet combinations.

For premium results, the Neumann U47 FET ($4,299) delivers legendary bass recording quality, capturing both weight and detail with remarkable balance. While expensive, it appears on countless classic bass recordings across genres.

Best Microphones for Upright Bass

Upright bass recording demands sensitivity to capture the instrument’s acoustic resonance while managing the feedback challenges inherent to amplifying large acoustic instruments. The DPA 4099 ($659) clips directly to the bass body, capturing natural tone while rejecting ambient sound.

The Neumann U87 ($3,200) positioned 12-18 inches from the f-hole captures upright bass with warmth and dimension. Large diaphragm condensers excel at reproducing the instrument’s full frequency range and spatial qualities.

The AKG C414 ($1,099) provides multiple polar pattern options that adapt to different recording environments. The figure-8 pattern works well for capturing room ambience, while cardioid focuses more tightly on the instrument.

Budget-friendly options include the Rode NT1 ($269), which captures upright bass beautifully in controlled studio environments.

Combining Microphones with Direct Signals

Modern bass recording frequently blends microphone signals with direct input from the bass itself. This combination captures the amp’s tonal character while preserving the clean, detailed direct sound. The microphone provides warmth and harmonic content that direct signals lack.

Phase alignment between microphone and DI signals requires careful attention. Time-aligning the signals during mixing ensures they combine constructively rather than canceling frequencies.

A typical setup might include a close microphone on the cabinet blended with a DI signal split before the amp. This provides maximum flexibility during mixing, allowing different balances for various sections of songs.

Room Considerations for Bass Recording

Low frequencies interact with room acoustics dramatically. Standing waves and room modes can cause certain notes to boom excessively while others disappear. Moving the bass cabinet or microphone position often solves these problems more effectively than EQ.

Corners amplify bass frequencies due to boundary effects. Placing the amp away from corners typically produces more balanced recordings. Bass traps in the recording space help manage low-frequency buildup.

Distance between the microphone and cabinet affects the captured sound significantly. Close-miking (2-4 inches) maximizes direct speaker sound while minimizing room influence. Pulling back incorporates more room character and allows the sound to develop naturally.

Live Sound Considerations

Live bass miking faces additional challenges including stage volume and feedback. Dynamic microphones like the Sennheiser e602 II ($179) handle high SPL levels reliably while their directional patterns reject bleed from other instruments.

Many live engineers prefer DI boxes over microphones for bass, eliminating feedback concerns and simplifying stage setup. The Radial JDI ($199) provides clean, isolated signal that sound engineers can shape as needed.

Combining DI and microphone signals live requires careful gain staging and phase management. Some engineers send the DI signal to front-of-house while using a microphone for the bassist’s stage monitor mix.

Making the Right Choice

For studio bass amp recording, the Electro-Voice RE20 provides exceptional versatility and quality. The AKG D112 offers excellent performance at a lower price point. Upright bass benefits from large diaphragm condensers or specialized instrument microphones.

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All bass microphones are available at Guitar Center, Musician’s Friend, ProAudioStar, and Amazon with various financing options.