Anyone do this regularly or try it? Suggestions? Results?I know that you can't place a ribbon right on a cab for destroying the ribbon, but how about at a distance of a 8"-12"? I don't have any real reason as to why, but I am trying to not use a SDC (I have a Pro37r). I usually use a 421 or RE20 more or less right on the grill (I have a Barefaced cab with the vintage looking grill cloth, 2x12). Usually set it not right at the cone, but a little off. I have read about some engineers using a Royer 121 on bass or even an M160. The Royer is a little rich for me blood, but the Beyer is doable. Also curious about polar patterns... would a figure 8 be better (get a little room in the sound too) or cardioid (or hyper) be better? Really looking to experiment and try to get some interesting sounds that really aren't the norm. I have a Nady RSM-2 and it's actually pretty decent, obviously no Royer or any of that, but it works for my guitar cabs. Haven't really fooled with it on the bass. I've also heard very good things about the Cascade Fat Head.Any advice? Thanks in advance!

A fig 8 mic doesn't have less proximity boost than a cardioid; it has double.

Out of curiosity, what do you expect to gain by using a ribbon that you can't get with a more conventional approach?

Place a candle in front of the bass amp and see if the candle is put out by the air the amp moves. The distance at which the amp cannot put out the candle is a distance safe enough for a ribbon microphone.Low frequencies are omni-directional so the distance limitation that ribbons impose will yield a bass sound that isn't very focused (at least that's what I think). I don't think that'll sound good but maybe you'll like it.Shure is making ribbons from this very durable metal that you can place it in front of a kick drum. You might want to look into it.

soundsofcallado wrote:Bon Hoga wrote:Out of curiosity, what do you expect to gain by using a ribbon that you can't get with a more conventional approach?Nothing, except to not be conventional, which is the point of the question. Do ribbons sound the same as conventional approaches for bass?I typically just throw an RE-20 on the cab. It paints a clear picture of what is coming out even close up. Can handle high SPL without complaint, has good bass response. I might add a small diaphragm condenser or even a dynamic like an SM-57 with it if it's fuzz bass or particularly clanky or anything.I have never used a ribbon on bass. RE-20 doesn't have much if any proximity effect so the benefit of fig. 8 mentioned by the bishop wouldn't be an advantage I'd be looking for. Sadly, I imagine my approach is pretty conventional, but it's worked more often than not.

Anthony Flack wrote:A fig 8 mic doesn't have less proximity boost than a cardioid; it has double.Having never yet had a need to use Fig 8 on anything, this is good to know.

The guitar on Dog Show was recorded with a Beyerdynamic m500 ribbon mic and a Marshall 4 X 15" bass cab. The set up was Les Paul Standard > Foxx Tone Machine > Marshal 50 watt Master Volume head > Marshal 4 X 15" bass cab (the tall one). It sounded great.phpBB [media]

Bon Hoga wrote:Out of curiosity, what do you expect to gain by using a ribbon that you can't get with a more conventional approach?Nothing, except to not be conventional, which is the point of the question. Do ribbons sound the same as conventional approaches for bass?

endofanera wrote:soundsofcallado wrote:Bon Hoga wrote:Out of curiosity, what do you expect to gain by using a ribbon that you can't get with a more conventional approach?Nothing, except to not be conventional, which is the point of the question. Do ribbons sound the same as conventional approaches for bass?I typically just throw an RE-20 on the cab. It paints a clear picture of what is coming out even close up. Can handle high SPL without complaint, has good bass response. I might add a small diaphragm condenser or even a dynamic like an SM-57 with it if it's fuzz bass or particularly clanky or anything.I have never used a ribbon on bass. RE-20 doesn't have much if any proximity effect so the benefit of fig. 8 mentioned by the bishop wouldn't be an advantage I'd be looking for. Sadly, I imagine my approach is pretty conventional, but it's worked more often than not.There are no problems or issues with the "conventional" process. I've had excellent sounds with 57s and 421s, etc, but I thought I'd see if anyone had any thoughts on doing something that is potentially not the norm.

Fig 8's have massive proximity effect.I use ribbons on fairly loud sources, mic'd a 200W bass amp pretty much cranked with mine a few weeks back. Just had a good pop filter on it.The advantage is when you combine it with a brighter mic and you can treat them seperately, mostly. But if you want a really dark bass sound it's also a no brainer. You could also pull it back and get a more room-y bass cab sound, which would be great on some types of bass playing.