Garth wrote: Fri Sep 24, 2021 8:45 am I probably also need to add that I'm way, way in the minority here and veering from the OG subject, but I almost always prefer bass from a DI over a mic'd cabinet. When I mic both and try to blend, I've never found like I was getting information I really loved out of a mic. Just seemed more loose and flabby regardless of mic I chose. Closest I've gotten was w/ RE20, but even then if I had to pick between the two, it would be DI almost every time. Best use for DI/mic combo for me was w/ distorted bass. An SM-57 or something to capture that combined w/ clean DI for lows worked really well for me before...although to tie it back, the SansAmp does the distortion thing pretty well tbh.

tommy wrote: Fri Sep 24, 2021 10:12 am Garth, what's your mic placement like? I've found the best sound for me is almost always as close as I can get to the grill without touching and pointed directly at the seam of where the dust cap and the cone meet. Diaphragm parallel to the grill (mic tip flat against it with a front address microphone). This seems to give me the most low end from proximity effect and a nice amount of highs without being too harsh.

bishopdante wrote: Sat Sep 25, 2021 12:54 pm Could very easily make a baffle with an omni measurement mic between the speakers, and run the speakers facing each other with the microphone placed inside, resulting in the microphone seeing an "infinite sphere" of loudspeaker, with an improbable level of "cabin gain" and proximity effect.

Such an assembly could be made using a sheet of wood and a bulldog clip. Could even just be a few bolts or sections of 6mm threaded rod, and a chunk of mic stand. Bit of foam rubber gasket maybe.

I doubt that you'd have to use very large loudspeakers, either. Five inch paper cone drivers would likely be more than sufficient, and those will feasibly take well over 100W per driver these days. Such an output level at point blank range, confined between two speaker drivers, that would very likely destroy a normal audio microphone, and require some sort of industrial measurement microphone. The aggravated sound pressure would also likely increase the stress on the loudspeaker cones, and result in elevated levels of distortion at high output levels – loudspeakers were "broken in" by playing them at high volume facing each other in the era of paper suspension..

Garth wrote: Fri Sep 24, 2021 8:45 am

Adam P wrote: Thu Sep 23, 2021 11:55 am I know they’re not very cool, but I’d be surprised if a SansAmp BDDI couldn’t get you what you’re after in most cases.

I think these are SUPER cool. This is one of the first bits of kit I've ever purchased for recording in the late 90s and I have continued to use it on almost every bass recording I've ever done since. Took it on tour w/ me when I wasn't super into the amp I was using and it still works great.

RyanZ wrote: Sat Feb 25, 2023 10:33 am I've had decent luck reamping through a little practice amp, OD pedals but looking for other ideas. Anything ITB besides EQ to try? has anyone ever put a little gate on a bass to tamper sustain? Is that stupid?