Best Mic for Live Double Bass?

Tha Ridla · #1 09-21-2009, 08:28 AM

Hello all,

I'm about to embark on a voyage of discovery. The world of live micing is about to become my oyster. I hope!

I've just bought one of these new-fangled H clamp things. I think larry grenadier uses one or something. It clamps onto the side cutout, allowing you to position ANY mic you choose, wherever you want it.

Cool, huh?

Only trouble is, I've no idea what mic to buy! I play a lot of jazz and acoustic music, so need something hi fidelity that I can use on it's own or possibly blend with my trusty fishman full circle pickup.

I can afford to spend up to £200ish.

Any ideas?

Help much appreciated!

Thanks,

Matt

JamesTaylor85 · #2 09-21-2009, 08:39 AM

Sennheiser MD 421

Ric Vice · #3 09-21-2009, 08:45 AM

Quote:

Originally Posted by Tha Ridla

Hello all,

I'm about to embark on a voyage of discovery. The world of live micing is about to become my oyster. I hope!

I've just bought one of these new-fangled H clamp things. I think larry grenadier uses one or something. It clamps onto the side cutout, allowing you to position ANY mic you choose, wherever you want it.

Cool, huh?

Only trouble is, I've no idea what mic to buy! I play a lot of jazz and acoustic music, so need something hi fidelity that I can use on it's own or possibly blend with my trusty fishman full circle pickup.

I can afford to spend up to £200ish.

Any ideas?

Help much appreciated!

Thanks,

Matt

Matt,
Many players here use the Shure SM 58 simply because it's affordable, sounds really good, and pretty bullet proof. If you buy an Explore Audio H-Clamp to mount it, the 58 will be very easy to position properly on the bass for the best sound.

http://www.exploraudio.com/productde...?pid=11&vid=18

Marc Piane · #4 09-21-2009, 08:46 AM

I'm not sure the H-Clamp will hold the Sennheiser. Definitely a great mic as is the EV RE20. Again too heavy I think. I used to use a Beta 52 on a stand but again too heavy.

I have to H-Clamp. I used it quite a bit with a Audix D2 which is really a tom mic. I did a good job but lacked some detail. I have had the most success with just a dynamic vocal mic. I've used a Beta57 with good results. Better mixed with a pickup though. It has a bit more of a airy sound. My mic of choice right now believe it or not is the good old SM58. A little more meat than the Beta57.

edit Ric beat me to it but I agree!

walkin · #5 09-21-2009, 01:11 PM

hi guys,

audio technica atm 350, it's a very good choice.

Kirkowitz · #6 09-21-2009, 01:14 PM

+1 on the sm58. Good cheap place to start- if you hate it you can always use it as a backup for when the fancy mic breaks...

basstef · #7 09-21-2009, 01:20 PM

Best mic for the bass for live and/or studio is SCHOEPS CMC6 with its Mk4 capsule, period. Try if you haven't yet. Around 1.400 euros for the whole package. It's quite expensive, yes, but it's the best!
I am thinking about getting one, sooner or later.
I am using an audio technica atm450 with the exploraudio h-clamp and I must say it's a very very nice mic as well. and I got it used for 100 bucks !

sixandeightstringer · #8 09-21-2009, 03:38 PM

For live, I prefer a dynamic mic; it's usually going to be less susceptable to feedback, and though you usually lose a bit of detail, it's worth it to not have to fight that monster.

Using my own H-Clamp, I've been digging the Audio-Technica Pro 25AX; it's a dynamic which is designed for loud instruments like Kick drum/Tom/etc., but it has nice detail and a hypercardioid element (which helps with feedback too.) It comes with a nice shock-reducing clip which makes it easy to aim where you want it. I position it pointed at the bass top off-axis, slightly under the end of the fingerboard.

I also recently checked out a couple mics from APEX - a kick drum dynamic (had a woolly, warm sound but missing a bit of detail) and a "stubby" mid-sized diaphragm condenser which had some nice detail and comes with a nice cat's cradle shock-mount. I'm doing some more testing on those two.

Tha Ridla · #9 09-21-2009, 06:23 PM

Hi guys,

Thanks so much for the quick replies! I think I'm gonna borrow an SM58 and see how I go, then see what else is around.

I just listened to a recording of a lesson with I had with Drew Gress, and he mentioned using an AudioTechnics AT61.

Does anyone have experience of this mic and is it preferable to other AudioTechnics stuff? I notice a few people have mentioned using this brand.

Matt

Ric Vice · #10 09-21-2009, 07:57 PM

Quote:

Originally Posted by Tha Ridla

Hi guys,

Thanks so much for the quick replies! I think I'm gonna borrow an SM58 and see how I go, then see what else is around.

I just listened to a recording of a lesson with I had with Drew Gress, and he mentioned using an AudioTechnics AT61.

Does anyone have experience of this mic and is it preferable to other AudioTechnics stuff? I notice a few people have mentioned using this brand.

Matt

Matt,
About 10 years ago Drew used a SM 58 in the tailpiece directly into a Walter Woods MI-100-8. Sounded incredible. The player has a lot to do with the sound.

Ric

Tha Ridla · #11 09-22-2009, 08:58 AM

yeah he's an incredible player. He's also got an incredible bass! He mentioned the walter woods as well, I think that's a mainstay of his. He also said he's not too fussy about gear though!

Vunz · #12 09-22-2009, 09:30 AM

Quote:

Originally Posted by basstef

Best mic for the bass for live and/or studio is SCHOEPS CMC6 with its Mk4 capsule, period. Try if you haven't yet. Around 1.400 euros for the whole package. It's quite expensive, yes, but it's the best!
I am thinking about getting one, sooner or later.
I am using an audio technica atm450 with the exploraudio h-clamp and I must say it's a very very nice mic as well. and I got it used for 100 bucks !

Interesting: you would choose a cardioid, rather than a super- or hypercardioid, for live work? What are your experiences with cardioid mics (if I am right, the ATM you are using at the moment is a cardioid as well)? Right now I am using a Neumann KM 185, which is a hypercardioid, but I would love to step up to a Schoeps (or DPA). However, I am not sure whether or not I should go for a hypercardioid again. Hence my question.

Thanks,
Vincent

Barcza · #13 09-22-2009, 04:35 PM

I tired the DPA 4099 just few days ago, and now this is my favorite!
Incredible feedback resistance!!!

basstef · #14 09-23-2009, 01:40 PM

Quote:

Originally Posted by Vunz

Interesting: you would choose a cardioid, rather than a super- or hypercardioid, for live work? What are your experiences with cardioid mics (if I am right, the ATM you are using at the moment is a cardioid as well)? Right now I am using a Neumann KM 185, which is a hypercardioid, but I would love to step up to a Schoeps (or DPA). However, I am not sure whether or not I should go for a hypercardioid again. Hence my question.

Thanks,
Vincent

Vincent,

forgive me...I don't follow you...why would you prefer a hypercardioid over a cardiod mic for a live setting ? The cardioid absorbs the sound 99% from the source with virtually no interference form the surrounding area and instruments. I think this makes much more sense than a hyperc.
I had the chance to try the KM 185 a few times and despite being a very high quality mic I find it a bit rough sounding, at least compared to my ATM450 or to a Schoeps.

Vunz · #15 09-24-2009, 12:55 AM

Quote:

Originally Posted by basstef

Vincent,

forgive me...I don't follow you...why would you prefer a hypercardioid over a cardiod mic for a live setting ? The cardioid absorbs the sound 99% from the source with virtually no interference form the surrounding area and instruments. I think this makes much more sense than a hyperc.
I had the chance to try the KM 185 a few times and despite being a very high quality mic I find it a bit rough sounding, at least compared to my ATM450 or to a Schoeps.

Well, I assumed that a hypercardioid is even better at feedback rejection than a cardioid, that is also what manufacturers such as Schoeps and Neumann claim. Why do you believe a cardioid makes more sense? BTW: I agree with your assessment of the Neumann; it does sound a bit rough. That is one of the reasons I would like to try another mic.

Thanks,
Vincent

bassphase · #16 09-24-2009, 06:16 AM

The nulls on a hyper cardioid are basically at 10 and 2 o'clock therefore they have superior rejection from the sides than a cardioid mic which has the null at the rear. This usually works better for onstage rejection of feedback but at high volumes it probably won't matter. Also, the pickup pattern changes the timbre of the mic somewhat. If you compare a km 185 (hyper cardioid) to Km 184 (cardioid) you'll notice the Km185 is a little darker sounding.

bob

hdiddy · #17 09-24-2009, 08:37 AM

I'm following Monte's lead and trying out an EV Cardinal. Will report when I get it.

Ric Vice · #18 09-24-2009, 10:16 AM

Quote:

Originally Posted by Barcza

I tired the DPA 4099 just few days ago, and now this is my favorite!
Incredible feedback resistance!!!

I keep hearing great things about this mic. My question is would the Headway EDB-1 be able to phantom power this mic. Anyone got any ideas? According to the EDB-1 Users Manual the phantom power available is 18 volts. I don't see how that would be useful for most condenser microphones. Am I missing something here?

Ric

61pollmann · #19 09-24-2009, 10:17 AM

I use the Audio Technica ATM-450 for several reasons. It's very good sounding on double bass, and it's small and light. Big, heavy mics are problematic with the H-Clamp. The other thing I really like is that it is a side address(think body of mic parallel to top) mic. It is much easier to position because the body of the mic can be much closer to the top of the bass. I use it with my two-channel Acoustic Image amp, which has the necessary phantom power. I like to blend in just a bit of the pickup. Check it out on the AT website.

George

shinebass · #20 09-25-2009, 05:34 PM

Hello,
I use a Sennheiser e614 on a short mic stand, through an ART Tube MP preamp. Both pieces are really cheap, but work really nice (to me and to many of my coleagues, that is). Depending on the band I play with and the venue, I might use the above into an active monitor, or direct to PA, or in conjunction with Realist (again sometimes into a combo, sometimes through a d.i. straight out).