recording an ampeg b15

nordberg · Post by **nordberg** » Tue Mar 08, 2011 11:30 am

to the recommenders of the sennheiser e609: do you think it's worth picking up this cheap guy for this amp or should my other mics be fine? like, does it beat out the others enough to buy it for this purpose? thanks - mike

teleharmonium · Post by **teleharmonium** » Tue Mar 08, 2011 1:56 pm

nordberg wrote:to the recommenders of the sennheiser e609: do you think it's worth picking up this cheap guy for this amp or should my other mics be fine? like, does it beat out the others enough to buy it for this purpose? thanks - mike

I don't know what styles you record, but I've been happier with the 4047 on the B15 than the 609. If I was doing more rock, I might lean more toward a dynamic. I have used them both on keeper tracks.

The 609 is a perfectly good affordable dynamic without as much low end rolloff compared to a 57, but I wouldn't say it is specifically a must have for bass. Lots of dynamic mics work well for bass. Your SM7 or your Beyers should be at least as good as the 609 or better.

obermorph · Post by **obermorph** » Tue Mar 08, 2011 3:51 pm

Amplitube is still easiest!

However, I liked my m88's on my now sold 66 b15. Miss the amp (sort of) glad I still have the mics though.

r

jgimbel · Post by **jgimbel** » Tue Mar 08, 2011 11:45 pm

The 609 isn't a bad mic, but I definitely wouldn't get one specifically to record bass, if I had an SM7 and a 4047. To me the 609 is one of those "works perfectly for a part now and then" mics but not one I'd say is a go to. Then again I don't own one, I've only used them now and then, but I'm rarely unhappy with my SM7 on bass. I used a 421 on bass today and that worked really nicely, its response is a bit like how I might EQ a bass track recorded with an SM7 if I needed it to fit into a mix better - slightly more scooped.

obermorph · Post by **obermorph** » Thu Mar 10, 2011 10:24 am

Try a 609 on toms. You will likey..

r

ott0bot · Post by **ott0bot** » Thu Mar 10, 2011 10:58 am

obermorph wrote:Try a 609 on toms. You will likey..

r

...sounds great on snares and guitar amps too. Especially amps that sound a little to bright to the ears. The e609 seems to mellow out the highs nicely and maintain the body, without getting boomy. Nice little mic for the price.

@?,*???&? · Post by **@?,*???&?** » Thu Mar 10, 2011 12:23 pm

nordberg wrote:finally!!! i'm getting an early 60's portaflex this week. i'm wondering what everyone's favourite techniques are for recording these bad boys.

thanks in advance - mike

We had one of these at Master Control. Quite an awesome amp. Having heard it on many sessions my advice is this if you are tracking over many days- LEAVE IT ON until the entire tracking session is done. Ours exhibited pretty big tonal shifts when it heated up all day, cooled down over night and then had to heat up again. It takes more than a half to hit the sweet tone with these amps.

nordberg · Post by **nordberg** » Thu Mar 10, 2011 6:44 pm

thanks for the heads up jeff!

nordberg · Post by **nordberg** » Thu Mar 10, 2011 6:44 pm

thanks for the heads up jeff!

(oops... darn 'puter. DOUBLE POST FOOLS)

ehrenebbage · Post by **ehrenebbage** » Thu Mar 10, 2011 8:12 pm

It's been said but I'll reiterate...sm7 sounds great right at the grill. If you're combining with a DI you can experiment with placing the mic towards the edge of the cone to help out with phase.

obermorph · Post by **obermorph** » Sat Mar 12, 2011 7:39 am

There is definitely a reason that I own 4 of them.....

tonewoods · Post by **tonewoods** » Sat Mar 12, 2011 2:20 pm

Then there's this:

vivalastblues · Post by **vivalastblues** » Sat Mar 12, 2011 4:14 pm

that's beautiful

Recycled_Brains · Post by **Recycled_Brains** » Mon Mar 14, 2011 9:33 am

RE20, right up on the grill. That combo is just so good. Heil PR40 is nice too, if you want a little more of the uber deep sub frequencies.

Also... bridging the inputs is a lot of fun. Use a short cable to bridge the left/right inputs, and plug your bass, or what-have-you into the center input. Blend the channels... awesome.

I just finished a week long project, where all electric bass was through the B15/RE-20 combo. Touch of compression. Sounds SICK. Also did the above bridged-input technique for Fender Rhodes (with a Rat pedal for a bit more midrange... not really distorting)..... best Rhodes sound I've ever gotten.

The e609 is probably the last mic I'd reach for in any instance where I wanted a lot of good low end, regardless of amp, or instrument.

teleharmonium · Post by **teleharmonium** » Mon Mar 14, 2011 1:56 pm

Recycled_Brains wrote:The e609 is probably the last mic I'd reach for in any instance where I wanted a lot of good low end, regardless of amp, or instrument.

http://recordinghacks.com/microphones/Sennheiser/e906

http://www.coutant.org/evre20/index.html

I like the RE20 as well, but it is 3 or 4 times the price of the 609, and there is not much difference in low end response.

609 is flat down to about 80 before rolling off, RE20 flat down to about 70. (the linked 906 chart also has the 609 on the same graphic.)

I think the low end of the 609 sounds good and present. It's certainly got much more bottom than a 57/58, and those have their fans on bass.

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