Funny, thats exactly what google said about the mic

NMD in a couple of days

Awesome.

The pad is super useful. Drum overheads with my Rode NT5s (which I genuinely like and think they are a fine value in SDC-land.) and the Saffire preamps were always a PITA as the output of the mics was so damn hot, there's no pad, and the preamps start with a pretty decent output.

And there's always something to be said for a neutral sounding, flat-ish big condenser. (The continuously variable pattern makes it even better.) They have a tendency to sound a lot like what yer recording with 'em. And this is not a bad thing. Well, usually.

hee.. welp.. google helped me figger out to buy 'em too. you're gonna be pleased, i think!

presuming you're not the crazy type who starts wondering what every mic on earth does.. you'll soon be in a good spot.

but if you are.. you're gonna be depressed about taking the first step down a long and winding road toward having way too many microphones..

Confirmed.... The M179 is fucking tits. Quite, clear and fucking awesome

Clips when I record them

Arr - if I can confirm that a decent room sound can be had in my basement, I too will be obtaining that mic.

nice! yeah- hard to beat for the money, fo sho.

i have a shorty session coming up in feb. that's just 2 basses-- no other instruments-- and was thinking of using 'em in a multimic array for those cats. i'll let y' know how they work on bass cabs! the only thing i haven't much liked 'em for so far was on a female vocalist. not BAD-- but just not much character. i've heard tell they're also great on kick drums-- which is the reason i got a third.. and to squirrel away for tom mics when time came to mic everything.. if i ever get there..

HNMD!

If you record those basses at the same time, why not get some binaural in there?

There's an idea.

And for the most documentarian of any recordist on here (Dan, not me )... I dare say it could work. I've always wanted to fool around with it, myself. I forget how to rig it up; there's a good TapeOp article on it.

i like the idear of binaural--- but my room has some mega issues with midbass.. and this is gonna be a midbass blowout given the sounds of the demos. i think i may haveta go for the faux-ass liveness on this'n over the real ass assplosion that might be awaiting two electric basses playing in similar registers....

I suspect i'm gonna be close mic'in with some proximity effect and highpasses engaged more than capturing the real deal here.. but i do have grand plans for my m179s on this'n.

if you wanna read some really cool stuff about binaural recording-- look up Tchad Blake. He's a mega fan of the Neumann head for drum recordometry. he gets some crazy drum sounds.

Dude did Bone Machine, which is one of my favorite albums. (And sounds awesome.) Aside from the Waits stuff I mostly only have a passing familiarity with his work. Like, I know who these people are and I've even heard some of it. I'll try and find a sampling of the drummystuff; I know he's a fellow traveler in the world of distorting the hell out of things.

Not to totally jack the thread, but I'm assuming you're planning on treating the room at some point?

And how far up do the highpasses on the m179s go? With a couple of basses I'd be concerned about stepping on the fundamental too hard, especially if there's something involved with more than four strings.

joy of it is, they're 80 hz highpasses. and hell YES.. gads.. so in need of treatment no more than 4 strings... egads.. these cats aren't the M word or anything ... i was mostly joking 'bout the lowpasses-- i'm just gonna put 'em closer in than i usually do to beat room BLLRRURRURPRPPPFPFPFPPPP.

Tchad Blake's a neat character-- he's even a nice guy, reachable via email, and is one of the few wierdo guys out there that'll be transparent about his wacky methods. I emailed him around 1999 or something, and he wrote right back (!). gearslutz has a section on it where you can talk to him.. so if'n youre curious- holler at him, and I bet he answers personally!

Hey- the extended range bass is a totally legit instrument. The piano, tuba (at least the largest BBb tubas), and contrabassoon go down farther. And the pipe organ, but I doubt you'll be micing up one of those any time soon? Two guys with basses, I'm almost shocked 5s or 6s aren't in the picture. Though it's probably for the best; the really low stuff is difficult to capture sometimes; the low string'll be murky sounding or the monitoring will drop out.

I've gone to sub-octave E on a 5 before and the rig could even reproduce it, and the bass could almost intonate right, but the bass's electronics were not up to the task. (A damn shame as it was a fine resonant thing.)

The room thing is a pain. My old old house actually didn't need it much- had I the money I'd buy the place and turn it into a studio! Such lovely sounds- Snaxodrome II needs it badly though; mixing there, the lows and low mids are f'd up. A lot of times I'll turn up and walk into the lounge and listen there to get an idea of what the bass is really doing, and I double-check on 'phones constantly. (I've taken to the Grados exclusively save for the "crappy earbuds test" or massive isolation for tracking)

Noted re: Tchad Blake. I haven't been on GS in a while, not really having money for gear lately. (And I probably spent, like, all summer on there? :lol; ) Re: methodology, as a guitarist, nothing strikes me as more conceited than the Eddie Van Halen type of secrecy bullshit. The really cool engineering guys know it's about the performance and material and the source anyway. Which has led to a real wealth of information floating around out there.

Oh, and re: an above-mentioned thing, I remember Albini saying the tuba was one of the most difficult things to record solo, as much of the sound comes from the body of the instrument- you can't just stuff a mic in the bell- and it takes a large room and a lot of distance to really develop.

i'm just joshin' about the extendo-bass! this project's only 4 stringers though-and should be pretty interesting-- one's a full on rock-ping G&L player- 410 and a head, the other plays an ibanez hollow body with flatwounds (!) through a 115 combo.. should be some serious interesting stuff. both 4 stringers though-- but being that different.. i can only imagine it's gonna be fun. i'd post a link to the music-- but it's not up yet.. soon soon.

i think i'd be in trouble if it went too much lower... i might blow the walls out of my garage by overpressurizing the space..

Oh, I know. Hence the octopus. Sometimes I like to be an asshole and quote the line "a bass has four strings and says "Fender" on the headstock."

Ibanez hollowbody... bass? I've always liked their hollow guit-fiddles when I've played them. I have never seen a hollow Ibanez bass. That sounds awesome.

I'm really curious how this is gonna sound because I would expect those to be two very different tones.