+1 minus the half joking part.
What an expensive journey this has been. I have sold most of my pickups and am about to list a number of things (amps, preamps, and such) that have become unnecessary.
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Double Bass An Ehrlund blog, sort of
- Thread starter drurb
- Start date
+1 minus the half joking part.
What an expensive journey this has been. I have sold most of my pickups and am about to list a number of things (amps, preamps, and such) that have become unnecessary.
This is a really good point. Many players have gone to very expensive extremes to make playing piezo based systems sound half-way tolerable-outboard eq's, expensive preamps, microphones to blend in, special amplifiers. I have found that I can get by with a VERY simple signal chain, using the same amp for both EB and UB. You may accuse me of not being very discriminating, but I get compliments all the time on my tone, even from the guitar player in my jazz combo. I use the Ehrlund EAP to the Erlund pre, to the input of my Aguilar TH500, to my Audiokenesis tc115. Sounds so good I can't believe. I think the Ehrlund + pre will actually lower your cost as it will allow you to simplify your rig. Would my system sound better with an acoustic image or some other such amp that caters better to UB? Possibly, but I am pretty dang happy and like having less gear to worry about. I think that most players could do the same. I have seen testimony on this board of many players who don't use their DPA systems after getting the Ehrlund and similar stories.
For me, it makes my playing life easier in every way. As soon as there's a pa in the rehearsal space I use, I leave the amp at home (if I need amplification in the first place) and plug into that. Sounds amazing. For gigs, I grab my PJB Flightcase and that's it, the rest is in the bass bag (preamp, patch cable, long cable). I plug in on the gig, and very likely do I not have to adjust very much. If there's a PA on the gig, I'll use that and I know it sounds great. I can remember having used quite a few amps, preamps, pickups, blabla, but those days are over.
Best
Sidecar
Best
Sidecar
For years, I futzed with Blenders (Fishman and Headway EDB-1) Microphones (Crown, ATM, AMT, and DPA) and impedance matching boxes (Fishman Model B, FDeck HPF, 1,2,and 3). It's so nice just to run the Ehrlund EAP thru the Ehrlund Pre Amp and connect it to the amp. Life is just simpler with this pickup.
Ric
Part of the issue for me is I don't use an amp any more, or use an amp rarely. I generally go into a powered pa monitor. I love that approach. A good powered monitor on a pole gives you plenty of volume, decouples you from the floor, gets you signal away from the other instruments and lets you hear yourself. I only ever use my AI if there's going to be bass guitar involved. I typical use ehrlund into headway edb1 into pa monitor, full stop.
Adding the ehrlund preamp just seems to add a layer of complication unless I go ehrlund into ehrlund per into pa monitor. Maybe that'd work fine, I don't know. I'd be hesitant to play some of the rooms we play with no control over eq.
Ehrlund preamp into headway edb1 just seems silly. The only reason I consider it is the huge amount of gain the ehrlund pickup requires
Adding the ehrlund preamp just seems to add a layer of complication unless I go ehrlund into ehrlund per into pa monitor. Maybe that'd work fine, I don't know. I'd be hesitant to play some of the rooms we play with no control over eq.
Ehrlund preamp into headway edb1 just seems silly. The only reason I consider it is the huge amount of gain the ehrlund pickup requires
I concur. I consider the Ehrlund preamp as the double bass equivalent of active electronics in a bass guitar. The Ehrlund pre simply makes sure that the outgoing signal is perfectly suited to be plugged into a preamplifier, top, or DI.
Best,
Vincent
Best,
Vincent
Well said. In fact, my Ehrlund pre sits ahead of the pre-amp section of my EA iamp200.
+1. I play a lot of outside gigs and have even used it solo, going into the effects loop. I no longer do this since I got my new speaker cab, as it simply so much more responsive. I have found that I have 1 eq setting that works for just about every room, except some rooms need more or less bass freq. Most other knobs stay the same. I think it helps actually that my bass is pretty dark (even with Spiro weichs) makes it easier to amplify for me. I usually leave treble knob flat, and cut upper mids quite a bit, mids and bass at 9 oclock. This setting works for 90% of rooms.
PB+J
I currently use a QSC K8 Powered Speaker with the Headway EDB-1 as the pre amp, and the Ehrlund Pre into the Headway. Although the Headway works, I find that both headroom and timbre are dramatically improved when the Ehrlund is added to the signal chain. What I find is the Headway benefits from the Ehrlund Pre Amp.
Ric
How do you like that QSC Ric? Obviously you must or you wouldn't use it. Do have the 10 or 12 for larger gigs or does the 8 get the job done for you most of the time?
Engedi,
For larger gigs I have the Walter Woods Ultra, and a Audiokinesis TC 112. I use the QSC for quick in and outs and tight spaces. It certainly sounds fine, for most smaller gigs.
With the Headway EDB-1 it makes for a very compact little unit, with plenty of power. The interesting thing is that it actually only weighs 3 lbs less than the TC 112 because of the power amp in the QSC.
Ric
I am envious of your WalterWoods, and your qsc. Sounds like you have an amazing setup. I am sure that with the Erhlund, to woods to TC112 your tone is amazing. I am continually floored by my TC115, which you can't get anymore as they can't get the same driver. Best cab I have ever owned by a longshot, especially for UB.
Engedi,
You know, even if I didn't have the Woods, I really think that the TC 112 will match so well with any head, that it's really not that as big of a deal as it used to be. I'm very lucky to have it, but there are so many great sounding lightweight heads out there now, compared to what was available when I bought the Woods used from a friend.
Ric
Hi
What are the advantages / disadvantages of the Ehrlund against the DPA4099-B?
I am getting ready to buy one of these. I think I am leaning towards the Ehrlund, but is the DPA is a better choice?
Cheers
What are the advantages / disadvantages of the Ehrlund against the DPA4099-B?
I am getting ready to buy one of these. I think I am leaning towards the Ehrlund, but is the DPA is a better choice?
Cheers
In my experience, the DPA picks up the drums or the noisy room, and will feedback more easily than the Ehrlund. It does sound a little better imho, as it is a condenser mic, but only in studio conditions.
Cheers, Al.
Cheers, Al.
I get compliments all the time too, but I take them all with a grain of salt--most non-double bass players lack a discriminating ear for this.
I'm still unsatisfied with my amplified sound. I just bought a used Ehrlund, so the (expensive) journey continues. I fear that even if I like it I won't be able to use it on every gig. Last week I had another idiot sound-guy who actually made my Full Circle feedback. During a ballad where we took it way down, he decided the band NEEDED TO BE LOUDER and dove for the board. Moron.
Well, there is no cure for a truly awful soundman. I think very few soundman actually know how to amplify an upright for good tone. The Ehrlund will not fix all your problems to be sure, there are a great many factors. I found that the right cabinet is just as important, which surprised me to be honest. I thought my tone was great until I got my Thunderchild, then I found out what great tone actually was. All I am saying is that the Ehrlund allows a very natural tone to come through that reflects the true tone of your bass more than most pickups out there, certainly more than any piezo system. You also want an amp and cabinet that do the same, instead of adding to much color, IMHO. That being said, if you are playing in a rock a billy band, it may not be for you. There are some players who can only get by with magnetic pickups to keep up with two loud guitars. I have found it to be pretty feedback resistant, but then most of my gigs tend to be outside, or with jazz combos in dinner type settings where we aren't exactly blowing the walls down. In these settings, I love that the Ehrlund picks up nuances, like vibrato and growl and finger noise and little taps and knocks and all the other little artifacts that communicate to a listener that someone is playing an instrument made of wood with their bare hands.
