Understanding the Recording Technique behind a Bass Guitar

Recording a Bass Guitar has become mostly a vintage idea, but at the same time

easier to record with DI (Direct Injection) box.

But, what really is a Bass Guitar? A Bass Guitar is traditionally a Double Bass or

Contrabassa that was later enhanced to be known as an Electric Bass Guitar

invented by Paul H. Tutmarc circa. mid-1930s (Blecha, n.d.).

Itʼs then become an instrument of strength, growl, and groove with Bass players

inventing various techniques. The instrument has become much easier to travel

around the world with than the traditionally known Double Bass/Upright Bass.

To record this instrument recording engineers would use various microphones to

be placed in front of the combo amplifiers or speakers. As I cannot recall any

microphones that engineers used during the mid-1900ʼs, with some research,

there are a few interesting microphones that can be used in the 21st century to

capture a quality sound from the desired amp or speaker.

• C414,

• X1 S - sE Electronics,

• And sE 2200

These are some of my favorite microphones that are condensers.

Microphones such as,

• D112,

• RE20,

• B52,

• E906,

• BETA 52A

Are excellent set of dynamic microphones that every recording engineer must have on

their shelves for recording a growling Bass guitar (Owsinski, 2012).

For an instrument of the low-end family, microphones with a large diaphragm are

much preferred over a small diaphragm, this is because instruments with frequencies

that are low require a larger diaphragm to capture the waveform information from

the speakers as opposed to a smaller diaphragm microphone, or to acquire a “big

sound” (Differences Between Large and Small Diaphragm Microphones, 2007).

However, this is not completely true, as a recording engineer, we are bound to experiment, and if having a smaller diaphragm microphone captures a “certain” quality of the instrument, it can be very well be used for recording.

A few guidelines can be taken into consideration: Microphones that are usually dynamic in nature should be used for recording the Bass guitar, this is only because dynamic microphones are more in “tuned” in capturing the lower-end of the frequency spectrum, therefore, instruments like Drum, Bass Guitar or Bassoon. I,

personally have used condenser microphones during my recording stage which gives

me a delicate, and a clearer sound.

Whilst, choosing the right microphones is exceptionally important, positioning the

microphones is equally significant and vital (Sweetwater, 2017).

• Moving the microphones extremely close to the speaker cone will increase the bass frequency (related to the proximity effect),

• Moving the microphone close to the center of the speaker will emphasize the mid-range frequency,

• And moving the microphone slightly off at an approximate of 45 degrees will achieve less mid-frequency which can sound darker or more body.

(Sweetwater, 2017).

These guidelines can work for a Guitar or a Bass amplifiers/speakers. There is a

need for finding the “sweet” spot eventually, but understanding what frequencies

are being effectively activated during the positioning can guide our understanding

in finding the desired spot much easier. An awareness of knowing each

microphones frequency response helps to find the desired spot quicker.

For example, if the microphone lacks low-end quality, having it exactly close to the

center speaker would not necessarily be the most idle location. We can have it

close to the rim of the speaker to accumulate low frequency information and active proximity

effect that can enhance the low-end of the microphone giving a little boomy-ness.

Moving the microphone back and forth the speaker a few inches can really change

the tone, and color of the instrument or signal drastically. Thus, experimentation is

inevitable (Owsinski, 2012).

Hence, there is no one-way of micing an instrument, especially the Bass Guitar

due to its vast range of pitches and tone.

During the class session with my lecturer (Foley, 2019), the classroom used a

room microphone that was placed 2.5 feet away (~80 cm) from the amplifier, the

microphone was sE2200, and E906 was placed right above the net of the amplifier

with the handle (of the amplifier) locking in the XLR cable.

Which can be approximated to look as the image below.

(Morrone, 2011)

The combination of both gave a “treble” tone, and the distant microphone gave a

“room-y” sound quality. While the effects of both was a great significant in the

recording, this technique boils down to taste, preference, and the most significant,

the engineers goal & ear.

REFERENCES:

Blecha, P. (n.d.). Audiovox #736. Retrieved from http://www.vintageguitar.com/1782/audiovox-736/

Differences Between Large and Small Diaphragm Microphones (2007). Retrieved from https://www.sweetwater.com/sweetcare/articles/differences-between-large-small-diaphragm-microphones/

Foley, A. (2019). Studio One: Studio Production [Lecture]. Retrieved from SAE

Institute of Dubai Course Name: Audio Engineering.

Morrone, P. (2011, May 25th). Sennheiser's Top 5 Guitar Recording Tips and Techniques [Video File]. Retrieved fromhttps://www.youtube.com/watch?v=x-CvIBFhn0k

Owsinski, B. (Producer). (2012). Audio Recording Techniques [Motion Picture]. Santa Barbara, California: Playback Recording Studio

Sweetwater. (2017). How to Mic a Guitar Amplifier [Image]. Retrieved from https://www.sweetwater.com/insync/how-to-mic-a-guitar-amplifier/

Sweetwater. (2017). How to Mic a Guitar Amplifier. Retrieved from https://www.sweetwater.com/insync/how-to-mic-a-guitar-amplifier/

APPENDIX:

Benghiat, M. (n.d.). The 5 Best Microphones For Recording Electric Bass. Retrieved from https://www.themusickitchen.com/mics/5-best-electric-bass-microphones/

Henshall, M. (2015). Recording & Mixing Bass Guitar. Retrieved from https://www.shure.com/en-US/performance-production/louder/recording-mixing-bass-guitar

Musician's Friend. (2019). How to Choose a Microphone: Dynamics, Condensers, Ribbons and More? Retrieved from https://www.musiciansfriend.com/thehub/how-to-choose-microphone-dynamics-condensers-ribbons-more

Pack, B. (2017). Essential Tips for Recording Bass Guitar. Retrieved from https://reverb.com/news/essential-tips-recording-bass-guitar

What is the difference between large and small diaphragm microphones? (n.d.). Retrieved from https://www.neumann.com/homestudio/en/difference-between-large-and-small-diaphragm-microphones

Extra Info:

An informative resultant of using a smaller diaphragm microphones as opposed to

a larger one could be, a recording artists wants to capture the sound of his or her

combo-mini amp (at home), and mixed with DI or direct signal to the interface this

can create an independent room for the instrument in the mix or song.

A general signal-flow for instruments that connect to amplifiers can be viewed below with some basic understanding of pre-amps, power-amps, and speakers:

This is a bass stack (Aram Bedrosian, personal communication, June 24th, 2017):

Two speaker cabinets and bass head,

• A bass head is a pre-amp and a power amp combined

• Power amps produce volume

• Pre-amps provide tonal control

Bass rack; this is when the power amp and pre-amp are separate,

The 3 parts of an amp:

• Pre-amp

• Power-amp

• Speaker

Pre-amps and power amps are combined into heads.

Combo amps (all three parts together) are typically the most convenient, compact

and affordable.

Bass stacks are more versatile, allowing different combinations of heads and

speaker cabinets. These are typically bigger and louder, thus, common for bands.

Bass racks are systems with discrete power amps and pre-amps, are the most

expensive, and more of a hassle.

Bas(s)isc signal-flow

Bass —> Line level —> Pre-amp —> Power-amp —> Speaker

Cabinet means only speaker.

Pre-amp = coloration

Power-amp = amplification

Cabinet = playback

Guitar —> pedals (effects) —> amp/cab (simulator or real) —> direct out from

amp/cab to DI Box or mic the speakers directly into the speaker.