• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Double Bass AMT S25 Bass Mic

#121
The best spot I've found for the KM-184 is between the legs of the bridge, pointing towards the fingerboard (see previous postings for pictures). I also experimented with my DPA 4061, and so far the best sounding and most convenient place is hanging an inch or so from a small velcro patch underneath the fingerboard, about three inches from the end. When I get a chance, I'll provide some pics.

- Wil
 
#123
Bob Branstetter said:
After a week or so of trial and error, the best spot I've found for the mic on my bass is on the centerline about 4-5" above the bridge and about 1/4" above the table. While I'm anxious to get the tailpiece upgrade, I would like to hear where others have found that elusive sweet spot is on their basses.

While I haven't have a chance to use it on a job that was loud or noisy, I have not noticed any degree of bleeding from the drums or other instruments. I find that the mic is not as sensive as my PUTW pickup and I tend to dig in more with the mic (getting my fingers caught up in the strings occationally!). Oh, but I love the natural bass sound!
Click to expand...


I ended up in about the same place. Coincidentily, I found that by knocking on the table with my finger, the place that has the sweetest finger sound is exactly the same place the mic sounds the best. Maybe this is a good way to find a starting place for the mic then work from there by ear.

Cheers
 
#124
SOUNDPOSTSETTER said:
After a week or so of trial and error, the best spot I've found for the mic on my bass is on the centerline about 4-5" above the bridge and about 1/4" above the table. While I'm anxious to get the tailpiece upgrade, I would like to hear where others have found that elusive sweet spot is on their basses.
Click to expand...

I'm still experimenting, but so far I like the mic almost between the bridge feet pointing back toward the tailpiece at about a 45 degree angle, maybe 1" off the table. I feel that the sound gets more natural a little further from the table, and it's less boomy that way for me. Maybe if I wasn't blending with a pickup, I might like the more direct sound it gets when closer to the table.
 
#125
Hi to all!

Well with all the glowing reviews of the AMT mic's, I am feeling a really strong urge to try one.

Where is THE place to buy one considering price, and delivery time.

Thanks for the info and a very Happy New Year to you all.

Warm regards, Alex
 
#126
phlybass said:
Where is THE place to buy one considering price, and delivery time.
Click to expand...
I don't know about THE place, but I got the best price I could find on the internet at 123music.com. Delivery was very fast and they offer a 45 day return policy.

Edit - I should also mention that the shipping was free which makes it about $16 cheaper than some of the other shops mentioned.
 
#129
Has anyone had the opportunity to try the AMT mic with phantom power from a Raven Labs PMB II? It only supplies 9V phantom which is pretty low but I thought since it can be powered by a 9V battery maybe it would work well.

Also I read a bit about this not being the best mic for recording. If anyone has had this experience, what about it is not so great for recording? Thanks all!
 
#130
It is pretty good for recording. It's not as good as a high quality studio condenser but it's still pretty damn good. In early models of the AMT bass mic, the body mount bracket would rattle. They fixed that problem many years ago. Some people here have complained that the gooseneck would rattle but apparently AMT has fixed that too. I have a really long gooseneck on my AMT mic since I have the tailpiece mount and the gooseneck (made to my requested length) stretches from the tailpiece almost up to the fingerboard. I've never had problems with it rattling.

As for power, the AMT can work off a power supply besides the 9V. For example, the super version of the preamp can take power from a wall wart - I don't think the standard version of the preamp has the option. However, my understanding is that not only can the AMT not work off phantom but that it doesn't like it (although it won't damage it). I spoke to Marty Paglione (the mic's designer and the AMT tech support guy) about this a number of times. You might want to call him to discuss it (call the AMT tech support number - not the sales number).
 
#132
Got mine last week, and had a chance to experiment with placement at a friend's studio. We recorded samples with the mic in several locations, and the one which worked best yielded a pretty impressive recorded sound. It's not going to have the range of a large diaphragm condenser, my friend explained, but considering it's size the sound was not that far off. I don't think that an ideal placement for the recording studio is going to be the same as for live through an amp, though. I'm still looking for that one.
 
#133
I looked down at the mic while I was playing tonight, and noticed the whole thing boinging around - both the gooseneck and the mic itself, from the vibrations of the instrument. I thought surely this can't be ideal. Is this normal? Also, to get the capsule as close to the table as I wanted, I had to put a pretty sharp curve in the gooseneck. After time the vibrations would cause the bend to lessen, and the proximity to the table would be altered. This is obviously a minor annoyance, but I would rather not have to futz with it once it's set.

One other concern. I would like to get the tailpiece mount, but the placement that works best so far is in the center of the table, about 2 inches below the bridge feet. This would require the gooseneck to be angled sharply towards the table, or have an extended contraption protruding from the back of the tailpiece to get it close enough. Anyone else dealing with these issues feel free to offer any suggestions. Thanks!
 
#134
Mine jiggles a bit, but only the mic and not the gooseneck. Doesn't seem to affect anything. The only adjustment thing that I've noticed witht eh gooseneck is that I usually have a second adjustment after the first tune as the clamp has rotated a bit. Other than that the setup is pretty stable.

The tailpiece mount seems like a neat idea, but that I like the old-style mount so that I can take it 'on the road' with me and mount it on any bass that I might have to use.
 
#135
Mine jiggles a lot (my mic that is) especially I since I have the tailpiece mount. However it doesn't affect anything. The isolation ring does its work fine. Because I have mine about 2" inches below the end of the fingerboard, it passes through the bridge legs and I actually have elastic bands anchored around the bridge adjuster shafts and then around the gooseneck, to keep it centred. Otherwise everytime I put the bass on its side, the gooseneck tips over. As for the height from the table, I find that every now and then I do need to adjust it back up a bit but it's pretty rare like every few weeks.

As for avoiding the sharp angle towards the table, I see nothing wrong with adding a spacer behind the tailpiece to lessen the bends in the gooseneck. I have precisely that on my setup. In my case it's a small chunk of cedar between the tailpiece and the mounting plate.
 
#137
Used the AMT for a concert in a 200 seat hall tonight. The sound guy commented that while the sound was quite good, there was also a lot of bleed. He was using the isolated XLR out from the preamp into th house, as well as another mic on the amp (not what I would prefer, but what do I know?) which was a blend of AMT and Realist. So I wonder:

1) Does the isolated XLR out of the preamp not have the filters that the other one has?

2) Could the bleed be a result of having the mic too close to the table, where sounds from other instruments bounce off?
 
#138
My experience has been that bleed is gonna happen when the sound levels on stage get high enough or if you're aimed at something loud. I try to situation myself so that I'm not aiming at the drummer if at all possible.

Also, in the situation you describe, you might want to consider only running the mic through the house and not the amp. And further, don't use an amp at all but rather get yourself a monitor, or turn the amp sideways and use it as a monitor.

The isolated circuit fixes the problem when you are getting buzz back from the PA and then sending it on to your amp. Marty recommends that you only use this if you have to as you lose some quality with that send.

Another thought is this. On my bass I have two spots where I use the mic. One where the reproduction is best, and another where signal is strongest while still getting an even balance from side-to-side, all while getting the best tone I can. On my bass, the best sound is when the mic is an inch or two higher than the bottom of the fingerboard and about 1/4" from the body. The second position is between the G-side F hole and the foot of the bridge, about the thickness of the capsule higher than the foot of the bridge.

Sometimes the band is just too damned loud and you're better off plugging in and playing war games with more serious munitions.
 
#139
T-Bal said:
Used the AMT for a concert in a 200 seat hall tonight. The sound guy commented that while the sound was quite good, there was also a lot of bleed...
Click to expand...


That's kind of like watching Gilligan's Island and seeing Bob Denver say "Skip-PPPEEEEEERRRRRR!!!" while running and holding his hat onto his head. That's what Gilligan does. It's kind of his job, even.

All sound guys do this. So many of them are used to either:
a) Working in studios where they have perfect isolation, or;
b) Used to running live shows with electric bassists or with DB players who only use a pickup.

Either way, they're used to having the bass alone in its own space, and used to having a double bass not really sound like a double bass. The AMT sounds great live, but it is a mic, and will pick up other prominent signals. It's often helpful to angle your bass away from the nearest cymbal. You can also EQ out the higher frequencies that you aren't really using much - this will shut out a lot of what gets in your mic. That said, any soundguy that didn't bitch about mic bleed during a live show would make me worry he wasn't really a sound guy, you know? :eyebrow:
 
#140
There are so many variables. I think one of the things with the mic and fighting bleed is that a pretty strong acoustic sound helps because the input into the mic has a reasonable signal/noise ratio. There are definitely ways to position yourself though (and ask others to position themselves too), to try and minimise the bleed. And yes, the table of the bass can reflect sounds but I don't think varying the distance of the capsule from the table will make any difference.

For use with the amp only and no send to the house, I've played in some awfully tight situations with just the AMT and though there was undoubtedly some bleed, it was impossible to detect through the amp by itself when the band was playing. If the signal is going to the house too, and is being monitored by someone, they may well be hearing the bleed but is it really enough to be an issue in the mix?

The isolated circuit is to avoid ground loop situations. The filtering is already done before it gets to that output. Through my own mixer, I always EQ out the top end anyway. And if I give something to the house, it comes from my mixer or the Pub and not from the AMT.

I don't know why the hell the guy would mic the amp. That's certainly not going to help things. Micing the amp is for guitarists and for setups where the acoustic sound of the bass itself is quite different to the final sound through the amp. He should be taking the Realist by itself and mixing that as needed or if you wish, just give him the mix you want him to use.
 

Latest posts

Top Bottom
Back