In this series, we are going to use a resource put together by Audio Technica to cover how to record a wide range of sound sources from a solo vocal through guitars, bass, piano strings, brass woodwind and percussion, before moving onto the drum kit. In part 2 we are going to look at bass, both electric bass and upright bass.

Throughout this series, we are using some excellent videos produced by Audio Technica and they naturally profile their own mics. But of course, you don’t have to use the specific Audio Technica mics they recommend. Take note of the type of microphone they recommend, like a large-diaphragm cardioid condenser or a hypercardioid dynamic microphone and chose one of that type that you prefer and/or own. What makes the biggest difference to the sound is where you place the microphone, not the particular brand and model of microphone.

Electric Bass

The foundation for any mix is a solid bass. Here are a few techniques to capture a full bottom end for any style. If the bass is being recorded with a DI, recording the amp at the same time can add dimension to the sound and fill out the bottom end.

It’s one of the things we get asked a more than anything else when it comes to recording instruments, how do you get a great bass guitar sound?

If you are a veteran to recording then this list should come as no surprise, but if you are new then try these and see how much difference they can make to getting the right bass sound on your tracks.

Quality Counts

They say that a bad workman blames his tools, that’s partly true, give a great bass player even a cheap instrument and they will do amazing things. However, it’s not just about the playing but it’s also the sound of the instrument. Get a great bass guitar - bass is one of those instruments that shows when the money has been spent. That’s got a lot to do with the wood and the quality of the instrument - with bass you can hear it!

String Theory

Try different strings; they all have different sounds. A decent bass player will already know this, but if you are new to bass then take a trip to a decent music store and get some advice on the different types of strings and their different weights, you’ll be surprised by how much they can affect both sound and performance.

Tone Bank

Experiment with the tone before you record, most basses have a huge variety of sound just built into the pickup pots and switches. Some tracks lend themselves to nice low non-descript brooding bass sounds, other tracks work better with a more punch mid-tone. If you have a good amp then use it and use the built-in tone; again there’s a vast amount of variety with a good bass amp. Spending some time before you hit record can make a heck of a difference.

Style Council

Experiment with the playing style - some songs need hard fingerstyle playing and other songs need a pick style - it can make all the difference. Try a few takes with a few different styles then listen back. A pro bass player will also use several different styles in one song to help differentiate between sections.

Mic Check

Try different mics on the bass cab; ask 10 engineers which mic to use and you’ll get 10 different answers, but some favourites are Sennheiser 421, EV RE20, Shure SM57, AKG D12 or 414. Experiment with mic positioning on the cab and distance too, both have a bearing on the final result.

Tracks DI And Amp

Try and get a track of both the amp and the DI sound by using a splitter before the bass hits the amp and then try them both in the mix afterwards. Often the final bass sound in a mix will be a combination of both DI and amp.

In The Mix

Once you have your bass tracked then try adding a boost at around 80-100Hz, be bold and then add compression to keep it all under control. If you have a DI and a cab take then use one to accentuate the bottom end and the other to give some detail, for me that’s normally the mic take. Transient shapers are a great tool when mixing bass, they allow you to add punch, reduce it, extend sustain or even pull the bass forward or push it back.

Experiment With Augmentation

Try adding in a synth bass line with the original, this trick has been used a lot on some top tracks over the years. Another nice trick is to copy the bass part with an identical guitar part and mix them together. Or try adding in a kick drum sample to add an edgy punch to the bass line - you’d be surprised at the results.

These are some of our favourite tricks and tips, what are yours?

Upright Bass

The complex dynamic sound of the upright bass makes it one of the trickiest instruments to capture - especially if isolation is an issue. Here are a few techniques to bring your upright bass into focus.

The double bass or upright bass is one instrument where it’s essential to consider how it will be played when planning your mics. Unless you are recording a strings section or a classic ensemble, you are most likely to come across the double bass being played by plucking the strings rather than played with a bow.

Try a ribbon microphone positioned about even with the bottom of the F-hole, angled just slightly toward the bridge. From here, you’ll capture both the detail from the fingers and the full low-end from the F-hole without letting the sound become too boomy.

The upright bass can be relatively quiet compared to the other instruments. This can make isolation difficult, especially in a live situation. To combat this, you could try clipping a small-diaphragm cardioid condenser microphone directly to the bridge of the instrument. The mic should be attached to the side of the bridge and aimed at the top of the F-hole just a couple of inches away. Alternatively, you could try a small-diaphragm cardioid condenser microphone where the neck meets the body, or Audrey’s favourite, which is to use an RE20 low down and a Neumann KM84 high up that give her the right combination of bass and neck action and is her go-to mic technique for this style of playing.