On Sat, 26 Jun 2004 04:57:21 +0000, BLCKOUT420 wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

How do you mean 'slap bass method', was she hitting the strings with her
thumb and having them hit the fingerboard like on a bass guitar? I bet
that has some serious peaks!

The best standup bass sound I ever got was with a jazzish band, all
playing in the same room. The bass pickup was plugged into his little
combo that was mic'd with a d112. But the majority of the bass sound
coming from the drum overheads! The drummer played real quiet on that
track, and everything just fitted together.

For the rest of the project we recorded it as an overdub, micing it in
more conventional ways. I tried using the combo and a stereo pair in the
same way as before, but never got that sound again.

On Sat, 26 Jun 2004 04:57:21 +0000, BLCKOUT420 wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

How do you mean 'slap bass method', was she hitting the strings with her
thumb and having them hit the fingerboard like on a bass guitar? I bet
that has some serious peaks!

The best standup bass sound I ever got was with a jazzish band, all
playing in the same room. The bass pickup was plugged into his little
combo that was mic'd with a d112. But the majority of the bass sound
coming from the drum overheads! The drummer played real quiet on that
track, and everything just fitted together.

For the rest of the project we recorded it as an overdub, micing it in
more conventional ways. I tried using the combo and a stereo pair in the
same way as before, but never got that sound again.

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

BLCKOUT420 wrote:
I'm starting a project next week that has a stand up bass. The girl
that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA
77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent
results, but
I'd love to hear any other ideas. Its really a hard instrument to
capture!
Try starting here.. Place the diaphram a couple inches above the
bridge and just out in front of the bridge where it will not be
bumped. I've used large diaphram condensors with best results (U87).
You should try an AKG D112 placed the same way if you are doing a more
traditional sounding track.
You may find very little or no e.q. needed. I compress using a 2 to 1
ratio, bumping off perhaps a couple db as we're recording.
If you need more of the "slap" use an AKG 451 or similar pointing
towards the end of the fingerboard and blend some of this in. I
personally find the second mic unnecessary but I prefer a smooth, rich,
even sounding stand-up.
Hope this gets you on the way!
Gary Gordon

BLCKOUT420 wrote:
I'm starting a project next week that has a stand up bass. The girl
that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA
77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent
results, but
I'd love to hear any other ideas. Its really a hard instrument to
capture!
Try starting here.. Place the diaphram a couple inches above the
bridge and just out in front of the bridge where it will not be
bumped. I've used large diaphram condensors with best results (U87).
You should try an AKG D112 placed the same way if you are doing a more
traditional sounding track.
You may find very little or no e.q. needed. I compress using a 2 to 1
ratio, bumping off perhaps a couple db as we're recording.
If you need more of the "slap" use an AKG 451 or similar pointing
towards the end of the fingerboard and blend some of this in. I
personally find the second mic unnecessary but I prefer a smooth, rich,
even sounding stand-up.
Hope this gets you on the way!
Gary Gordon

(BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

For a bluegrass bass player, I used a Behringer ECM8000 parallel to the
fingerboard, about 12 to 18" out, with the nose pointed straight down at the
floor, and even with the point where the neck joins the body of the bass.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

(BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

For a bluegrass bass player, I used a Behringer ECM8000 parallel to the
fingerboard, about 12 to 18" out, with the nose pointed straight down at the
floor, and even with the point where the neck joins the body of the bass.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

(BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that
plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D
aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent
results, but
I'd love to hear any other ideas. Its really a hard instrument to
capture!


Take one large cap condenser, wrap body in some resilient foam material &
cram under the tailpiece behind the bridge.

jep

(BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that
plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D
aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent
results, but
I'd love to hear any other ideas. Its really a hard instrument to
capture!


Take one large cap condenser, wrap body in some resilient foam material &
cram under the tailpiece behind the bridge.

jep

On 26 Jun 2004 04:57:21 GMT, (BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

Before getting too clever, try the old gig trick of stuffing a SM58
(or whatever) wrapped in foam behind the tailpiece, pointing up.

It's all wrong, but can sound OK :-)

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

On 26 Jun 2004 04:57:21 GMT, (BLCKOUT420) wrote:

I'm starting a project next week that has a stand up bass. The girl that plays
it uses the slap bass method.Last time around, I mic'd it with a RCA 77D aimed
at the sound hole, and an MC012 aimed at the slap spot. Got decent results, but
I'd love to hear any other ideas. Its really a hard instrument to capture!

Before getting too clever, try the old gig trick of stuffing a SM58
(or whatever) wrapped in foam behind the tailpiece, pointing up.

It's all wrong, but can sound OK :-)

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

In article g writes:

BLCKOUT420 wrote:
I'm starting a project next week that has a stand up bass. The girl that
plays
it uses the slap bass method.

How do you mean 'slap bass method', was she hitting the strings with her
thumb and having them hit the fingerboard like on a bass guitar? I bet
that has some serious peaks!

Sort of. They fret the string and literally slap the fingerboard down
near the bridge end rather than plucking (or bowing) the string). It's
very percussive. It used to be pretty standard in bluegrass and jump
bands where they didn't really care much about the tone of the bass or
the definition of the note, it was both the bass and drum.

I've never really found any better way to record (or capture for live
sound) a bass played in that manner than the old bluegrass trick of
wrapping a microphone (usually an SM57 or something of that ilk) in
foam or a towel, and stuffing it into the hole in the bridge, pointing
upward. Gets plenty of slap and enough thud so you can tell that it's
a bass.

It's not a great bass sound, but it's THAT bass sound. If they wanted
what's considered by most to be a great bass sound, they'd play it
differently.



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article g writes:

BLCKOUT420 wrote:
I'm starting a project next week that has a stand up bass. The girl that
plays
it uses the slap bass method.

How do you mean 'slap bass method', was she hitting the strings with her
thumb and having them hit the fingerboard like on a bass guitar? I bet
that has some serious peaks!

Sort of. They fret the string and literally slap the fingerboard down
near the bridge end rather than plucking (or bowing) the string). It's
very percussive. It used to be pretty standard in bluegrass and jump
bands where they didn't really care much about the tone of the bass or
the definition of the note, it was both the bass and drum.

I've never really found any better way to record (or capture for live
sound) a bass played in that manner than the old bluegrass trick of
wrapping a microphone (usually an SM57 or something of that ilk) in
foam or a towel, and stuffing it into the hole in the bridge, pointing
upward. Gets plenty of slap and enough thud so you can tell that it's
a bass.

It's not a great bass sound, but it's THAT bass sound. If they wanted
what's considered by most to be a great bass sound, they'd play it
differently.



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

I've heard of people doing it this way, and getting great results with
an E/V RE20, too. I've always wanted to hear how that sounded... Might
be worth looking into! Good luck.

Pete Scalia
Smiling Iguana Productions

Try starting here.. Place the diaphram a couple inches above the
bridge and just out in front of the bridge where it will not be
bumped. I've used large diaphram condensors with best results (U87).
You should try an AKG D112 placed the same way if you are doing a more
traditional sounding track.
You may find very little or no e.q. needed. I compress using a 2 to 1
ratio, bumping off perhaps a couple db as we're recording.
If you need more of the "slap" use an AKG 451 or similar pointing
towards the end of the fingerboard and blend some of this in. I
personally find the second mic unnecessary but I prefer a smooth, rich,
even sounding stand-up.
Hope this gets you on the way!
Gary Gordon

I've heard of people doing it this way, and getting great results with
an E/V RE20, too. I've always wanted to hear how that sounded... Might
be worth looking into! Good luck.

Pete Scalia
Smiling Iguana Productions

Try starting here.. Place the diaphram a couple inches above the
bridge and just out in front of the bridge where it will not be
bumped. I've used large diaphram condensors with best results (U87).
You should try an AKG D112 placed the same way if you are doing a more
traditional sounding track.
You may find very little or no e.q. needed. I compress using a 2 to 1
ratio, bumping off perhaps a couple db as we're recording.
If you need more of the "slap" use an AKG 451 or similar pointing
towards the end of the fingerboard and blend some of this in. I
personally find the second mic unnecessary but I prefer a smooth, rich,
even sounding stand-up.
Hope this gets you on the way!
Gary Gordon

I'd love to hear any other ideas.

I like using a KM86 up near the end of the fingerboard.


Scott Fraser

I'd love to hear any other ideas.

I like using a KM86 up near the end of the fingerboard.


Scott Fraser

I've found this GREAT for sheer volume and punch, but extremely
unpredictable for TONE. It's a good first-try for live where you need the
power and iso but it's iffy in studio for an honest sound... works
sometimes.

--
John I-22
(that's 'I' for Initial...)
Recognising what's NOT worth your time, THAT'S the key.
--

in article . net, crow at
wrote on 6/26/04 11:58 AM:


Take one large cap condenser, wrap body in some resilient foam material &
cram under the tailpiece behind the bridge.

I've found this GREAT for sheer volume and punch, but extremely
unpredictable for TONE. It's a good first-try for live where you need the
power and iso but it's iffy in studio for an honest sound... works
sometimes.

--
John I-22
(that's 'I' for Initial...)
Recognising what's NOT worth your time, THAT'S the key.
--

in article . net, crow at
wrote on 6/26/04 11:58 AM:


Take one large cap condenser, wrap body in some resilient foam material &
cram under the tailpiece behind the bridge.

Mike Rivers wrote:

...snip..
I've never really found any better way to record (or capture for live
sound) a bass played in that manner than the old bluegrass trick of
wrapping a microphone (usually an SM57 or something of that ilk) in
foam or a towel, and stuffing it into the hole in the bridge, pointing
upward. Gets plenty of slap and enough thud so you can tell that it's
a bass.

It's not a great bass sound, but it's THAT bass sound. If they wanted
what's considered by most to be a great bass sound, they'd play it
differently.

--
I'm really Mike Rivers )

I do live sound for a (mostly) bluegrass show once a week and had
been using the 57 in foam method but had some quality problems
with some instruments. About a year ago I started playing with an ATM35
with good results. Most of the time I'll clip it to the bridge pointing up
at the fret board. Note: the clip that comes with the mic doesn't always
fit the bridge; I rugged up a modified clothes pin and some rubber bands.
It's become my first choice for bass in my venue.
Then too, live ain't studio, thus: YMMV

Ron Capik
NJ Pinelands Cultural Society
www.AlbertHall.org
--

"philicorda" wrote in message
news
The best standup bass sound I ever got was with a jazzish band, all
playing in the same room. The bass pickup was plugged into his little
combo that was mic'd with a d112. But the majority of the bass sound
coming from the drum overheads!... I tried using the combo and a stereo
pair in the
same way as before, but never got that sound again.

The particular bass makes a far greater difference than with any other
instrument I can think of when it comes to sound quality.

--
Bob Olhsson Audio Mastery, Nashville TN
Mastering, Audio for Picture, Mix Evaluation and Quality Control
Over 40 years making people sound better than they ever imagined!
615.385.8051 http://www.hyperback.com

I like using a KM86 up near the end of the fingerboard.

Or if you don't have an 86 a KM84 can work very well even in the manner Rivers
mentioned.



---------------------------------------
"I know enough to know I don't know enough"

Bob Ohlsson: The particular bass makes a far greater difference than with any
other
instrument I can think of when it comes to sound quality.


You got that right, and I'm so sick of recording plywood basses. But ya gotta
feel for these guys when a really good bass costs 30 grand!