Bass Amp Miking Techniques for Recording

Miking bass amplifiers captures the character and presence that direct recording alone cannot provide. The physical movement of bass speakers and cabinet resonance contribute unique qualities to recorded bass tone. Understanding bass amp miking enables capturing these characteristics effectively.

Microphone Selection for Bass

Large-diaphragm dynamic microphones handle bass frequencies well. Their design accommodates the high SPL and extended low-frequency content of bass amplifiers.

The AKG D112 is purpose-built for kick drum and bass. Its presence peak around 4 kHz adds definition while the low-end response captures fundamentals. This microphone appears on countless bass recordings.

The Shure Beta 52 offers similar capabilities. The tight pickup pattern reduces room bleed. The built-in presence peak helps bass cut through mixes.

The Electro-Voice RE20 provides full-range capture. Its flat response reproduces the amplifier accurately. The variable-D design reduces proximity effect changes with distance.

The Sennheiser MD421 works well for bass. Its presence and detailed midrange capture bass articulation. The fuller frequency response than the MD421 suits bass applications.

Large-Diaphragm Condenser Options

Condensers capture extended low-frequency response. The AKG C414 or Neumann U87 provide detailed bass capture. Their accuracy reveals amplifier character.

The Neumann FET47 excels at bass amplifier recording. The transformer design and FET electronics handle bass excellently. This microphone has appeared on many classic bass recordings.

Condensers may require pad engagement. Bass amplifiers produce high SPL that can overload condenser elements. Using the pad prevents distortion.

Subwoofer Microphones

Dedicated subwoofer microphones capture extreme low frequencies. The Yamaha Subkick and similar designs use speaker elements as microphones. They capture frequencies below what standard microphones reproduce.

These microphones supplement rather than replace standard microphones. The subwoofer capture adds low-end depth. Blending with conventional microphones creates complete bass tone.

Phase alignment with other microphones requires attention. The different frequency response and position create phase relationships. Proper alignment maintains full low-frequency capture.

Placement Fundamentals

Center of speaker captures maximum attack. The cone’s center projects high frequencies most directly. This position emphasizes definition and articulation.

Outer edge of speaker captures more low end. The cone’s edge moves more, projecting bass frequencies. This position emphasizes warmth and body.

Distance from the cabinet affects captured character. Close miking at 2-6 inches captures direct sound with minimal room. Greater distance adds room ambience and allows tone to develop.

Off-axis positioning reduces high frequencies. Angling the microphone away from direct position softens the tone. This technique helps with overly bright bass amplifiers.

Multiple Microphone Approaches

Close and distant microphones provide blending options. A close microphone captures definition; a distant one adds room and depth. Blending creates the desired balance.

Different microphones on the same speaker capture different characters. Pairing D112 with RE20 provides complementary qualities. The blend combines their strengths.

Multiple speakers in cabinets offer options. Each speaker in an 8x10 or 4x10 sounds slightly different. Testing reveals the optimal speaker for the desired tone.

Phase alignment between multiple microphones matters. Misalignment causes frequency cancellation. The 3:1 rule and physical measurement ensure proper relationships.

Cabinet Considerations

Different cabinet designs suit different approaches. Sealed cabinets provide tight, defined bass. Ported cabinets offer extended low frequencies but may be looser.

Cabinet size affects the recorded tone. Large 8x10 cabinets project powerful lows. Smaller 1x12 cabinets offer focused, controlled bass.

Rear-ported cabinets can be miked from behind. The port projection captures different character than the front. This alternative perspective supplements front miking.

Cabinet isolation affects room sound capture. Elevating the cabinet or using isolation reduces floor coupling. This affects how the cabinet interacts with the room.

Room Acoustics

Bass frequencies interact strongly with rooms. Standing waves and modes affect captured bass. Positioning the cabinet away from problematic locations helps.

Corner placement reinforces low frequencies. This boundary effect may help thin-sounding bass. Excessive reinforcement creates boom that needs management.

Absorption for bass frequencies requires mass. Standard acoustic treatment rarely addresses bass effectively. Bass traps and room design affect low-frequency capture.

Room microphones capture ambient bass differently than guitar. The long wavelengths mean distant microphones capture different phase relationships. Understanding this affects blend decisions.

Combining Mic and DI

The standard professional approach records both. DI captures clean low end; miked amp adds character. Each serves a distinct purpose.

Relative levels adjust the blend character. More DI emphasizes clean fundamental. More amp emphasizes growl and presence.

Different processing on each source expands options. The DI might stay clean while the amp gets compressed or distorted. This parallel approach shapes the combined tone.

Phase relationships between DI and mic need attention. The timing difference between electrical and acoustic capture creates phase offset. Alignment or intentional offset serves different purposes.