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Double Bass Afterlength muting, the H clamp, and further proof that Einstein wasn't born in KY

#81
Sorry to hear that you're having trouble getting the clamp to stay, especially in that spot. It's a killer.

on another front, while I'm a little wary of this "Loctite" stuff, I'm going to need to do something to help keep the mic from swiveling at the threads (the thread turns seem more suited to mounting on the other side of the bass, which isn't practical). Is there anything inbetween "too loose" and "locked in position for life"? Loctite is an epoxy, and looks like it might never let go.
 
#82
While this is somewhat true, there are different grades of Loctite (or similar products) that hold to a certain limit. Back when I had an endpin ball on my old endpin, I used blue medium strength Permatex threadlocker (from Advance Auto) to hold it on. When it was time to remove the ball, all it took was a turn of the screwdriver and the screws broke free with no damage. And be patient when using it. While it will begin to harden within minutes of applying it, it doesn't fully set for around 12 hours.

Chris Fitzgerald said:
Loctite is an epoxy, and looks like it might never let go.
Click to expand...
 
#84
fingers said:
Ya know I had the very same issue with a ball endpin and I just used super glue. As I understand it Super Glue won't bond to metal the same way it will to porous stuff. With a good strong twist I was able to break the bond.
Click to expand...

OT, but I really don't care for that endpin ball. If it weren't for that loctite stuff, it would have never stayed on. now that I have a new endpin with the threaded rubber tip, that endpin ball just sits in the drawer.

back on topic, I'm really getting more and more interested in this h-clamp. I may have to find someone local (greg?) who has one so I could try before I buy. Not really playing out at the moment, but once I do, this may be on my short list.
 
#86
Chris Fitzgerald said:
on another front, while I'm a little wary of this "Loctite" stuff, I'm going to need to do something to help keep the mic from swiveling at the threads (the thread turns seem more suited to mounting on the other side of the bass, which isn't practical). Is there anything inbetween "too loose" and "locked in position for life"? Loctite is an epoxy, and looks like it might never let go.
Click to expand...

I use Loctite for screw threads all the time. The kind in a little bottle is not epoxy and comes in 8 different strengths, all meant to be removable. I suggest starting with the low strength thread locker 222.
 
#88
Back when I played slab with any regularity, I had a prototype reissue Fender Jazz (hand made in the Fender Custom shop) with the screw type bridge (if you've seen one, you know what I mean-the saddles are actually large screws that are mounted on the bridge). The height adjusters were little tiny screws that went through the saddles and would move with vibration. I was constantly resetting it-so much so I carried a little screwdriver to the gigs with me. I used the easily breakable version of Locktite on the screw heads and it locked everything right down. When I needed to adjust the bridge, a little pressure with a screwdriver freed it right up.

If you don't want to go out and buy Locktite, clear fingernail polish works pretty well too and you can get it at any drug store.

mark
 
#89
Ok. I just ordered the freakin' thing. I'm getting more and more allergic to amps and gear but in places with a pa I'll try it. I've got a steady coming up in Feb and March at a place that has a pretty nice pa. I've also got a few festival things already lined up for the summer. If it doesn't work for me keep your eyes in the classifieds.
 
#90
MR PC said:
Maybe a lighter weight mic would eliminate the slippage problems I had with the H-Clamp on my bass!
Click to expand...

I got an H-clamp last week and a Rode NT5 small membrane condensor to go with it. The mike weighs in at 100g (3.5 oz) and is supported rock solid by the H-clamp wherever I put it.

I also tried one experiment with my Behringer C-1 large membrane condensor (400g), but after a few minutes of playing the clamp part of the mount rotated under the mike's weight until the mike was resting against the bridge and making ugly buzzing noises. The manufacturers claim that the clamp will support up to 500g, they seem serious guys so I believe them, but I think that would require tightening the clamp further than I personally would want to.

BTW, I chose the Rode through listening tests at my local music store, comparing it with other sub-$200 small membrane condensors from AKG, AudioTechnica and Shure, through a high quality mixing desk and studio headphones. The Rode beat the pack for accurate reproduction of my bass's natural sound and came uncannily close to the Neumann KM184 I was using as a reference - to be honest I don't think I could have distinguished the Rode from the Neumann in a blind test. The salesman told me that most mike-savvy people would say the smoother high frequency end is what distinguishes the KM184 from the NT5, but I guess you just don't hear that when it's a bass you're miking.

Overall, I think the H-clamp is a great concept. Some postings here have complained about the price, but compared to $500 for an SD-Systems double bass mike or $700 for an AMT, $250 for the H-clamp plus Rode combination looks like a good deal to me!
 
#91
So I used the H-Clamp for a couple gigs with house pa systems this week (though no sound guys).

First some background.

I have an affinity for using dynamic bass drum mics, specifically the Beta 52, to get the sound I like live. The Beta 52 is too heavy (605g) for the H-Clamp. Bass drum mics can be a little boomy in general so you have to look carefully. After some searching I came upon the Link Removed. It is generally used for toms or congas but I have seen it used for the beater side of bass drums. It has a mid/low bump which I like. The H-Clamp really likes it because it is light and very small so it is easy to position is tight places. I'll try to include some pictures later but I positioned the mic roughly between the bridge feet pointing at the top.

I went pickup into my amp on stage and ran the mic through the pa. The sound I got was HUGE. It was cool. Everyone commented on how much harder I was able to drive the band because there was much more thump to my sound without sacrificing definition. I'm liking this thing.

Anyway. I'll try to include some pics later.
 
#92
I really like those Audix drum mics. How is the D-2 for bleed, off-axis rejection etc.? Did you get a lot of the drums in the signal in addition to bass?
Was that the gig at Red Kiva BTW? I've heard some good things about that room.

fingers said:
So I used the H-Clamp for a couple gigs with house pa systems this week (though no sound guys).

First some background.

I have an affinity for using dynamic bass drum mics, specifically the Beta 52, to get the sound I like live. The Beta 52 is too heavy (605g) for the H-Clamp. Bass drum mics can be a little boomy in general so you have to look carefully. After some searching I came upon the Link Removed. It is generally used for toms or congas but I have seen it used for the beater side of bass drums. It has a mid/low bump which I like. The H-Clamp really likes it because it is light and very small so it is easy to position is tight places. I'll try to include some pictures later but I positioned the mic roughly between the bridge feet pointing at the top.

I went pickup into my amp on stage and ran the mic through the pa. The sound I got was HUGE. It was cool. Everyone commented on how much harder I was able to drive the band because there was much more thump to my sound without sacrificing definition. I'm liking this thing.

Anyway. I'll try to include some pics later.
Click to expand...
 
#93
gnergaard said:
I really like those Audix drum mics. How is the D-2 for bleed, off-axis rejection etc.? Did you get a lot of the drums in the signal in addition to bass?
Was that the gig at Red Kiva BTW? I've heard some good things about that room.
Click to expand...

I thought it was very good. Maybe better than the vocal dynamics as far as off axis rejection. It is a Invalid Link Removed and has a tighter pattern to the sides of the mic with a little pickup to the back which helps get string noise.

One was Pete's Schaumburg (eventhough the pa has some issues) and one was a private thing. Red Kiva is tonight (Sunday). They don't have a pa but it is a really cool room and they have a really nice grand piano (when it is tuned). You should come out and sit in a tune.
 
#94
I've never tried the Audix, but haven't had much luck with the bass drum mics I've tried so far; one was a Shure and the other was a CAD, and both were too tubby sounding. I have had good luck with the Beta57 in the new "near the soundpost" spot, so I think I'll just stick with that for now. Also, I think I may have solved the mic-droop issue without any glue or loktite stuff: I found that if you wrap a towel around the H-Clamp arm and then grip tightly around the towel with pliers, you can actually torque the mic clip pretty good with the other hand and get it to lock in without scoring the arm itself. Dunno why I didn't think of that earlier...
 
#95
Tubby is definitely something to watch for with bass drum mics. The Audix D2 is marketed for toms, congas, and low brass/woodwinds. It starts to roll of in the low/mid area and is only rated down to 44Hz were most bass drum mics roll off much lower and go down to 30Hz. The biggest advantage is its size and fact that it weighs a scant 128 grams. Very easy to position. I picked it up a Guitar Center for $120. I'll try to post some clips when I get a chance.
 
#97
I know it's been a while since you guys have posted on the H-Clamp. I was just wondering if you could update us all on how it's going. How are you using it (amp or PA)? Are you using it on all your gigs? Blending w/pickup? Any new modifications to the H Clamp to make it work better or accept larger mics? I am one click away from ordering the Clamp and a Wizzy M-Line (to use with an AI Focus) from Bob. Thanks.

Roger
 
#98
RShew said:
I know it's been a while since you guys have posted on the H-Clamp. I was just wondering if you could update us all on how it's going. How are you using it (amp or PA)? Are you using it on all your gigs? Blending w/pickup? Any new modifications to the H Clamp to make it work better or accept larger mics? I am one click away from ordering the Clamp and a Wizzy M-Line (to use with an AI Focus) from Bob. Thanks.

Roger
Click to expand...

I had the ocassion to use mine at a Demo recording a couple of weeks ago. It was really nice to just use it for the AKG mike the studio had. The advantage is that you don't have to restrict your movement to get good mic placment for a recording session.

Ric
 
#99
I've been using mine w/ a Beyer M 88 TG on all my gigs, even the louder ones lately. I blend it w/ an RS II p/u using a Focus 2R III and from there to an M-line.

I run the mic to my amp for most of my gigs which are smallish clubs and restaurants. If there's a PA, they usually get a blended signal unless it's more of a high profile gig. If so, I can bring along my Solstice, and then the house gets mic only and I get my usual blended mix from my amp.
 

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