What strange combinations of equipment have you ended up with in front of the amp?

Right now I'm using a Barcus Berry transducer. It's funky because it terminates into an RCA plug. The Pickup comes with a Buffer/Preamp with an RCA input (that makes sense) and a 1/4" output (normal). But the preamp was put together very badly. A microscopic spot of solder holds the inputs and outputs to the little board. After a little while I could no longer repair the preamp. But that didn't seem like a reason to throw out the pickup. So I got an Aguilar DB924 outboard preamp (18V MOSFET) and the appropriate cables and adaptors.

I'm having a natural attack of G.A.S. and I think I want something like the Golden Trinity/Bass Max. But I don't want to retire the Aguilar.

I'm set up for Rockabilly/Blues/Country/Voodoo Boogie trio playing a plywood bass fitted with a K&K RB Special pup/preamp system. It's simple and versatile and gives me great sound.
I also have an Underwood and a SD with the four transducers that stick to the bridge under the strings and a strange looking preamp the size of an input jack. These are currently in the too hard basket.

LimeZone. I have an interesting pick-up combo that works great and sounds amazing for any genre of music. My 3/4 DB hosts a K & K Double Big Twin through a Fishman B II preamp and an EMG Select P-Bass pick-up rigged to the base of the fingerboard. I chose the EMG Select because they use a full width internal blade rather than pole pieces thus eliminating any likelyhood of dead spots. I run these through a Behringer Eurorack MX602A mixer into a Fender BassMan amp. I play with a group that gigs for folks of my generation (45 - 60 y/o) so the mix of tunes is quite eclectic. The DB sounds like the best P-Bass ever built with the EMGs only. The acoustic voice is very accurately amplified with the K & Ks. The pick-up combo mixed for Rockabilly and blues is totally amazing. The EMGs soften the tone and dig in the low end like that wonderful Memphis sound from the 60s while the K & Ks in unison provide the 'traditional' sound. :)

Right now I'm using a K&K Trinity mic paired with a hybrid K&K pickup I call the "Double Bass Max". The funny part of it is, the DBM terminates into a 1/4" stereo female jack. This wire runs down under one side of my tailpiece. I then have a 2" long stereo to mono 1/4" patch cable which plugs into the mono Trinity input jack. The whole thing comes out the way a normal K&K Bass Max/Trinity combo would - to a stereo jack mounted on the strings by the tailpice - but there's a lot of extra wire involved.

The preamp mounts with velcro to my stool, which goes wherever my bass does. My old teacher used to comment that my bass looked like a "Borg" from the old STAR TREK series, but after he heard the tone all those wires resulted in, he quit laughing.

I have a Realist and an Underwood, with a Radio Shack Y-cord (yes, I know, I know, I'll replace it..) thru a Contra. Sounds great, purely by accident, I'm sure.

The strangest thing in front of my amp has been me.
Hated Fishman, HATED Schertler (I went for the entire system, sent it all back), Realist is acceptable, Barbera very good but expensive and can't be moved from bass to bass.
BEST of all is custom made K&K (All Hail Bob etc.) similar to Chris's but slightly different. They're both one-of-a-kind. It trounces the competition. I have the Trinity mic, but I haven't needed to use it. Someday I'll try Chris's route.
Switching from G-K to Acoustic Image was another great idea.
And I hate, I mean HATE, dorking around with dials and screwdrivers, etc.

OK, I started with a Fishman PU and Pro-EQ preamp on my no-name ply bass when I began doing amplified gigs. Then went through this:

Fishman BP-100, Pro-EQ
Underwood, Pro_EQ
Realist, Pro-EQ
Realist OR String Charger with Pro-EQ
Realist AND String Charger with K&K Dual Channel Pre

I bought a Juzek ply as a second bass a few years ago. Started off trying the Realist and Pro-EQ but this didn't work well so I experimented at home before trying to gig with it:

Realist, Pro-EQ
String Charger (no preamp)
Pan Electric mike plus piezo and Pan mixer
LR Baggs PU, Baggs Para DI (first setup I gigged with)
K&K Bass Max, Pro-EQ
Schertler Stat-B system (PU and pre)

Various amps and cabs along the way:

AMP BH-420 head, EAW 15" cab (EV speaker)
AMP head, Peavey 2-10" cab
SWR Baby Blue combo
AMP, Epifani 12"
Walter Woods MI-225-8, Epifani 12"

Originally posted by brianrost
OK, I started with a Fishman PU and Pro-EQ preamp on my no-name ply bass when I began doing amplified gigs. Then went through this:

Fishman BP-100, Pro-EQ
Underwood, Pro_EQ
Realist, Pro-EQ
Realist OR String Charger with Pro-EQ
Realist AND String Charger with K&K Dual Channel Pre

I bought a Juzek ply as a second bass a few years ago. Started off trying the Realist and Pro-EQ but this didn't work well so I experimented at home before trying to gig with it:

Realist, Pro-EQ
String Charger (no preamp)
Pan Electric mike plus piezo and Pan mixer
LR Baggs PU, Baggs Para DI (first setup I gigged with)
K&K Bass Max, Pro-EQ
Schertler Stat-B system (PU and pre)

Various amps and cabs along the way:

AMP BH-420 head, EAW 15" cab (EV speaker)
AMP head, Peavey 2-10" cab
SWR Baby Blue combo
AMP, Epifani 12"
Walter Woods MI-225-8, Epifani 12"



BRAINROAST,

Which (if any) of the above is the current configuration? I still have my Baby Blue, but it's a backup now....

I come from humble beginnings. My first amplification (1963) consisted of a harmonica contact mike taped to the bridge of a Kay. And if you think THAT was humble, I had an old style phonograph/AM radio in a big wooden tabletop cabinet (I'm sure my fellow old farts know what I mean) from which I removed the record changer to lighten it, and plugged into the phono input (complete with equalization <g>) and put it on its side. Glorious sound from that 6x9 speaker ;) Hey! I was 13 and broke!

Follow that up with a Polytone (golden cylinder between the bridge legs) with its indefinite thump, through one of the first Ampeg SB-12 Portaflex models (I lived the town next to Linden where Ampeg lived). Had the Polytone repaired twice before I gave up. It got played through all sorts of amps including one of the tall padded Kustom 3x15 amps, Polytone w/15+two 6s, blackface Fender Bassman w/2x12, MusicMan combo w/extra 15, homebuilt pair of 18s.

Homebuilt pair of two different condenser mic elements on a bridge clamp, aimed at the f-hole and towards the fingerboard; actually very nice for outdoor and low volume gigs.

Borrowed a Fishman, threw it back.

Fell in love with the K&K Double Big Twin, first with an LR Baggs DI, but didn't like its flakey battery box and returned it, and bought a K&K Power Pack.

Fell in love II with the K&K Bass Max. Recommended K&K stuff to friends, who couldn't find their products. Became a dealer just to pass on stuff to friends. And the rest is history <g>.

K&K Bass Master Pro replaced Double Big Twin on Juzek.

Worked with K&K to develop the Golden Mic. Now it supplements both basses in various combinations.

Now working with the Moses/Lace magnetic double bass pickup, installing it on my EUB and have tried it on both my basses. Very nice.

Later amps include Eden/Carvin 2x10, Kern/QSC and EA cabs, Contra gets the most use these days. And I'm trying to hold myself back from buying an EA iAMP Combo.

I have EMG's on the bottom of the fingerboard mounted on a little removeable box with volume and tone controls for easy access,(although I never touch the tone) once I have a good sound I try not to mess with it. I also have the K&K bass max which I prefer for jazz, a much more natural upright sound, but for loud rock and rockabilly stuff I find the EMG's cut through a bit better. And once your that loud any or the little nuances are kind of lost anyway. And I have half a Fishman up under the fingerboard where it meets the body for slap. This is the only good use I've ever got out of Fishman pickups. I use an ampeg svt-400t with a 4x10 ampeg bottom. I also use a little 10 watt fender with a 6" speaker for the slap pickup. All the bass rolled off on the fender so all you hear is the Click.

Kevinlee

Not sure if any of you have heard of this name or not, but i'm using a Biesele pickup system (magnetic pickup / preamp / blender). It's made in Eastern Canada (not sure how far south they get). As far as my searching has told me, this is the closest thing to a real 'acoustic' sound as you can get. Excellent tone.

Originally posted by Samuel
Underwood, Realist, Walter Woods WW-1, Euphonic 2x8 3-way. In a good room it sounds like there's no amp.

Do you use the Underwood and the Realist simultaneously? I own both, but one is mounted on my ply-back bass, and the Realist is on my main bass. I never thought of using them together, since they're both piezo. Then again, they are mounted in different places on/under the bridge, so maybe it does make sense. I use them through a Sadowsky outboard and Eden WT 300 + 210T cab.

Originally posted by Anton Visser


Do you use the Underwood and the Realist simultaneously?

At the time this was posted, I ran the Underwood into Ch 1 of my 1982 Walter Woods WW-1 and the Realist into Ch 2. Both volumes are at about 10:30 -- 11:00 so I'm hearing a lot more Underwood than Realist. I think it sounds very hi-fi -- until the volume gets out of hand, it sounds like the bass, not an amp. Plus, no preamps, no batteries, emergency redundancy and they're paid for.

I've used Underwoods for 20+ years. I bought my first one in 1978, when they were the Real Hot Thing -- a giant step up from the Ampeg Groaner-Spike that Bob AH Gollihur mentioned in his post.

I got the Realist off EBay because I wanted a spare thang. On my bass, the Realist has much less output and the sounds too dark for my taste. EDITED: SO I DITCHED IT.

Lots of players posting here don't seem to love Underwoods. Sonically, they have an ultra-high-end spike that needs to be addressed for natural tone. They don't like being plugged straight into inexpensive Plank amps. I also suspect that Don Underwood's business is set up more around direct sales than retail.

I'm sure that the K&K sounds great, but my mind and wallet aren't joining the Great Pickup Quest right now. It ain't broke, so I don't fix it.

I use a similar setup to Samuel. I have an Underwood and a Realist on my bass. I use an EA 208 cab or a 110cab. I find the Realist has less output and a darker sound than the Underwood (as Samuel does). It's strange, most of the guys I know that use a Realist found that it has more output than their Underwood. I like to combine them (when I borrow a mixer) and put them into my iAmp600. I will probably buy a Raven Labs blender soon so I can always combine them. I find this gives me a natural sound that still cuts through without feedback.

I always use the Realist and the Underwood together, with good results. Individually, neither one works for me. Years ago, I was approached on the bandstand by an INCREDIBLY beautiful girl who asked "Is that an Underwood? How do you like it?" After looking around for Allen Funt, I replied that it was too soon to tell. Turns out it was Larry Underwood's daughter. Thought maybe she was The One, but then her boyfriend appeared about eight seconds later. Gotta love that tech support, though...

Question to all combined Underwood/Realist users: what are you using as a mixing device? I own both pickups, but do not have a mixer yet, and my Eden WT300 is single channel. I would like to continue using my Sadowsky outboard pre-amp. Would you recommend a special bass mixer like the Bassblender, or would any low cost small 4 channel mixer do?

Raven Labs Blender or mixer.

Originally posted by Bass Boy
Raven Labs Blender or mixer.

I'll second BassBoy's comment - I've heard great things about virtually all Raven Labs gear. I've seen Donosaur refer to his Fishman blender as one of his stupidest gear purchases, and my ProEQ doesn't blow me away, either. JMHO.

Originally posted by Bass Boy
Raven Labs Blender or mixer.
Interesting, if you go to www.ravenlabs.com, you can order your own suspension of Bacillus Thuringiensis:confused:
However, on www.raven-labs.com, I found the PMB 1 blender, but also the MDB 1 mixer/direct box. Which one would you recommend? At $399, is it worth it?

I use an old polytone pickup mixed with either an LR baggs or the new moses/lace mag. Into a Fishman dual para eq and Hartke Kickback. Very satisfied.

I use the Realist combined with a crown mic, mixed through the fishman bass blender, into an ampeg B3 combo(2x8)

Another Biesle user here.For a magnetic pickup it sounds gorgeous at mid volumes .Should play an electric when things get louder.

K7K trinity mic paired with either Bass Max Pro or Big Double Twin, thru Raven Labs blender to AI.

this works just great

finally, I have stopped searching for "the sound" in amplification equipment

Funny seeing this thread come back again after 6 months. I've found a nice combination recently for my American Standard upright.

Underwood ---> Fishman ProEQ ---> SWR WM12

For the low volume acoustic blues gigs, it's nicely focused without feedback in the room where I've found nothing to work well. Perhaps a little bright on the G string (Obligatos), but that can be dealt with on the ProEQ. I've kept that preamp in mind over the years from Brian Rost's comments about it.

Previous rigs used the Fishman Model B preamp, the Baggs GigPro preamp...didn't like either of these as well as the ProEQ.

I've also used a BassMax for awhile, but too much fundamental with this bass...a homemade stick-on piezo from a RA buzzer...and originally...the old Polytone brass thingy that went between the bridge feet.

Tornadobass

Tornadobass, I have a simialr setup.

Underwood - Fishman Model G-SWR WM 10

And my bass is a '52 Kay MB-1

K & K Bass Max and Golden Trinity going to a Raven-Labs PMB-1 (great box, BTW), which goes to either a GK-MB-150E, or an AI Contra depending on how I feel. I also have an EA CXL-112 driven by an AI Clarus (I wait with bated breath for a call from WW...). Anecdote: The first time I saw John Repucci play, I took a sly look at how he'd set up his GK-150, and saw that everything was vertical, ie. no cut or boost anywhere, which just goes to prove that JR's fabulous sound is in his fingers... (either that, or he'd carefully fixed his settings, and re-attached the knobs so that they were all at 12 o'clock, just to fool idiots such as me... :) )

- Wil

JeffreyG,

The setup I described is the best I've found yet (at moderate cost) for small gigs. Going to Obligato strings was a nice touch to the sound, too.

Tornadobass

I agree re. Obligatos - I love the sound I get with them, they're good for arco, and even in this hot weather, they stay in tune like you wouldn't believe!

After many years of trying different pups and amps, I've arrived at a Barbera bridge, an SWR 4x8 cabinet, and Trace Elliot 12band head.
Previous crap includes; SWR WM12, GK MB150s, Fishman BP100 with Blender and Crown mic, Shadow, Underwood, Trace 100-15, AER bass cube, Roland bass cube.
My current setup is way better than any of the previous stuff. I use no eq, other than pulling down the bass frequencies about 3db. I have the horn in the cab switched off. This rig sounds real good in an intimate setting, and has the grunt for a rockabilly or country gig. The only downside is it's a little bulky for an intimate retaurant gig.

I once used a DiMarzio contact pickup for a hastily arranged recording session. An engineer pressed on the pickup with his finger while I played to get a stronger signal. A mike could not be used because I was in the same room as the drums!

My bass teacher plays for a local band (Lamont Cranston) and plays out of a Walter Woods amp... He lost his paper work, and I was wondering if anyone here could give me the man's number/some way of contacting him... I want an amp from him, but can't get a hold of him... a lot of you speak of walter woods, so I s'pose you may know
Cheers,
Evan

Realist/Golden Trinity mic into K&K preamp to either Clarus head or Walter Woods into Acme B1 or Raezer's Edge 8T. I try to have as much Trinity mic sound as possible in the mix.

I have a Realist and an Underwood, with a Radio Shack Y-cord (yes, I know, I know, I'll replace it..) thru a Contra. Sounds great, purely by accident, I'm sure.

Marcus

What do you think the chances are of me reproducing this miracle with a Realist, Bass Max and Radio Shack Y-cord?

I've poured over the threads looking for solutions to the common Realist complaint of muddy sound. Your post seems to be the closest thing to an unqualified, relatively inexpensive solution.

Marcus

What do you think the chances are of me reproducing this miracle with a Realist, Bass Max and Radio Shack Y-cord?

I've poured over the threads looking for solutions to the common Realist complaint of muddy sound. Your post seems to be the closest thing to an unqualified, relatively inexpensive solution.

Holy ancient history, Batman! The Realist has disintegrated, I gave the Underwood away, even the bass has been sold. But I guess it's worth a try. Part of the reason it worked for me might be that I was running through my Contra (also up for replacement), which is pretty forgiving when it comes to accepting pickups with no preamp.

progressive order:

underwood through the fishman pre (bad)

underwood + audio technica mic through fishman blender (tolerable)

then the realist hit, so i just used that for a while, sans preamp (better)

now i've got realist, k&k bullet mic through k&k trinity preamp (tried the K&K bass max, didn't dig it), (best yet)

just ordered the pick-up-the-world, will let you know what i think- maybe it's the next big thing!

amp wise, i use a glockenklang (sounds like walter woods only you don't have to wait a year to get one) through a bergantino 2x10, in the market for a better small cab for quiet gigs.

Seeing as how Robin threw his setup on here, I figured I'd tack mine on to seeing as how I've finally got it dialed in.

I fortunately bought a Realist as my first pickup and ran it through a SWR WM-12. That was a good setup and did me right for about three years.

Then I bought a Clarus, which never seemed to work as well with the Realist not much clarity...but I hung with that for a while.

Recently I got an Underwood, which I liked better than the Realist but still wasn't enthralled with the sound.

Last week I got a Bergantino 1x12 and started running both pickups (Underwood and Realist) into the Clarus. This is really a wonderful setup. I think the pickups compliment each other really well, but of course the Clarus won't mix them. I just got a Raven Labs PMB-II, which should be the final piece in the puzzle for me. I've got by far the best pitch clarity I've ever had -- at last I've got electric bass pitch clarity and acoustic bass sound.

Will

Hey Robin, please report as soon as you have the pick-up-the-world, im in the market for a new pick up and im really interested in reviews of that one.
thanks in advance

NUNO

I own a Engelhardt Swingmaster, I'm lucky one of my best friends In Atlanta is also the premier luthier. And of course, Peter set it up for me. Thru on a Barcus Berry transducer, one sitting around his shop (maybe the Outsider), I forgot to ask him. just something to get me by. Really not necessary at this time. Anyway, I just plug it in to tune and experiment. Sounds pretty bad. One of Bob Gollihur's tips is use a stomp box thats all you have for a preamp(good idea). I tried this DigiTech ph50 modeler. I can get it a little louder without all the high end.
Used a Electro Voice PL20, it sounds great (just don't bump the stand or you'll have the mark on the bass). Then I tried this Realistic/Crown plate mic I have. Put it under the tailpiace over some padding. I was quite pleased. Very natural sound. Looks ugly on the bass though.
Being a drummer one day when I learn to play this bass I get a real pickup/preamp setup. At this time after reading the forum and reaserching I'd go with the Bass Max and Preamp.
I see used Fishman's, Realists, etc. everywhere. I wonder why I not seeing any K&K's. Is everybody keeping them?
Anyway, I appreciate all the input from everybody. Thank you kindly, David

Well I don't have a lot of history but I'll chime in as well.

Started with a K&K BassMax on my Crapona rental bass into my SWR LA15 that I had been using for slab on Jazz. Then I got my Shen SB-90. Recently upgraded the amp to an AI Clarus and paired it with a Schroeder Mini 12+. Next I've got a Rev Solo on the way. I'm trying to avoid the pre-amp business as I'm kind of a KISS kind of guy when it comes to stage set up. I do like a little compression so sometimes I'll get out an old stompbox I have. I'm considering a Fishman platinum if I do go with a pre as it has compression and rather sophisticated controls.

K&K BassMax to a Schatten Black Box(Onboard Volume control), to a Fishman Platinum Pro Bass, to the P.A. or an old 12 watt Fender MusicMaster Bass amp.

I have a BP100 and Fishman bass preamp vintage around 1993. The preamp is the old metal housing one, bass, treble, and gain knobs. I fasten it to the tailpiece with velcro. I used to clip the BP100 to the treble side F hole on my old Kay, but now I have it superglued to the back side of the bridge on my new Roma. I have an SWR Workingmans 12, but I rarely ever use it. I usually just go straight to the board. I get an ok sound unless its a really bad room, and then what can you do anyway? For recording, or if theres a really good pa and soundman, I'll ditch the pu and play into a good condenser. I prefer using the pu cause of convenience and not being tied to a mic. Never have found a suitable clip on mic. Never enough gain before feedback is usually the prob with that.
I'm sure there's better p.u.s nowadays, but what I've got works so I've never shelled out bucks just to experiment. I don't play jazz, just bluegrass or really old time country. All my band needs is a good audible thump on the downbeat.
One of these days the old rig is bound to fail so then I'll prob get a K&K, Revolution, or a Realist.

Prior to the BP100, its was wrap a mic in foam and stuff it behind the tailpiece.

Hopefully reviving this thread. . .

I'm an eager amateur, having struggled with electric bass setups in huge PA systems decades ago, recently joining a 6 piece bluegrass band. They want to keep the PA simple, using one central Audio Technica AT 4033 mic with no monitor, all of us standing in a wide semicircle around it. This works great in fine concert halls with enormous stages and silent audiences (the one time we actually had such a gig); it was like playing unamplified in rehearsal, and my bass reportedly sounded pretty good. But this works poorly in parties and coffee shops and bars where we typically play, with no additional amplification on monitors. My bass is a 7/8 Christopher, Model 303.

Now, the group is giving up on the single mike idea, and adding side mics and possible monitors. So, I'm back to amplifying myself. I tried a small lavalier mic pinned into the f-hole, running straight into the mixing board, and it seemed marginally adequate, although hearing myself was still a problem. Now, I'm trying a Realist fed straight into the mixer, which I'm told sounds particularly good through the main speakers. But I still need to hear myself better. Later, I'd like to try adding a small mic, mixed with the Realist.

Is there a way to use the Realist without a separate amp/speaker for the bass alone (relying on the stage monitors)? If so, is there some ideal preamp I should consider? Or, can I use a small bass amp that has an auxiliary send to the board?

How about a Fishman Platinum Pro EQ (has XLR D.I.) and a small active speaker?

BP 100 (w/Fishman Preamp)=CRAP

Realist= CRAP that then died after 3 years

BP 100+Realist mixed by Ravenlabs MDB-1= a little better. Awful arco sound, even with orchestral strings

B Band Statement into Avalon U5= big improvement; bband best amplified arco sound I've gotten. This setup is good for quiet theatre/bluegrass festival audiences/PAs. Venues with big PAs including VW-Bug-sized subs= feedback nightmare.

Almost nothing has been said about the bass plugged into all this electronic hoo-ha. I recently played a plywood bass set up for rockabilly w/gut strings et al. The instrument had almost no sound compared with my carved Juzek. Aha!! Just wish I could afford a good plywood intrument for amplified gigs. The lesson here seems to be the better the bass (by "better" I mean a bass with a big natural sound), the harder it is to amplify.

I also have been using Velvet SUITs (best combo jazz/orchestral string out there IMO). These strings are expensive pains-in-the-ass that are totally worth the tribulations as long as one is playing low-volume gigs. Beautiful, silky feel with a sweet clear tone. A pleasure to bow and they still go "pwaaa" when played pizz. Just don't put them on until you can give them a week to settle down. Had to take these off to go back to a steel-core string (Helicore Hybrids) for use with magnetic pickups @8-(*

Awaiting a String Charger that I will then mix with the BBand via the Ravenlabs. That way at high-volume gigs I can have a "giant P-bass" that, per my band, still "looks cool onstage" (read: "it's an upright!") and I can blend the magnetic PU out at the low volume gigs. The Helicore Hybrid G string sounds like chainsaw arco, BTW.

Shaun Kelley

Realist and Radial Tonebone Pre-Z acoustic preamp. This is for guitar, but does nice job, all potmeters at 12:00. And through a good active monitor, of course.

now I'm playing with an Underwood through a EBS microbass II (I double sometimes). amplifier is an old GK MB200.
the EBS is good because has a 10Mohm input impedance that is ok for Underwood.
I like to try an amplified box such Mackie SRM 350 or SR Technolgies Club 300 instead of GK.
anyone has experiences?