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Double Bass Beta 52a or ksm 27?

neddyrow

neddyrow

www.simmerinstew.com
Apr 21, 2011
2,309
3,136
Cortland, NY
#1
I play in a bluegrass band where we have switched from using direct boxes for each instrument to using a pair of shure ksm 27s mics in the more traditional bluegrass style when we play live shows. We have one set higher for vocals, fiddle and harp to stand around and one lower for the banjo, mando and guitar player to stand around. I, as the bass player, have been plugging in to my little gk to avoid any feedback from having a third mic on stage.

Since we are never too loud, I'd like to start using a mic for my bass as well and am torn between two different choices: should I get a third ksm 27 so I have a "matched set" of mics or should I get a beta 52a that is more geared towards bass frequency? When we recorded our album, the sound guy used the 52a but I'm not sure what would be the best set up for live sound.

Any suggestions would be appreciated.
 
#2
neddyrow said:
I play in a bluegrass band where we have switched from using direct boxes for each instrument to using a pair of shure ksm 27s mics in the more traditional bluegrass style when we play live shows. We have one set higher for vocals, fiddle and harp to stand around and one lower for the banjo, mando and guitar player to stand around. I, as the bass player, have been plugging in to my little gk to avoid any feedback from having a third mic on stage.

Since we are never too loud, I'd like to start using a mic for my bass as well and am torn between two different choices: should I get a third ksm 27 so I have a "matched set" of mics or should I get a beta 52a that is more geared towards bass frequency? When we recorded our album, the sound guy used the 52a but I'm not sure what would be the best set up for live sound.

Any suggestions would be appreciated.
Click to expand...

I did a search on both of the Mics you're considering ande neither of them come up in our Double threads. The new DPA 4099 B just works exceptionally well in live applications, into a house system and back through the monitors. It's not as economical as the Beta 52a but it will capture the sound of your bass.

Ric
 
#3
I've used the Beta 52 a bunch and it's great. The only problem is it had a pretty tight pattern so it is best if you are close and it is so heavy it has to be on a stand. I've been using either a SM58 shoved through the after lengths or wrapped in a towel behind the tailpiece or I often use an Audix D2 on an h-clamp.


edit: pics

7192576388_f0d86f0aee.jpg


or

5800337876_6e29883b12.jpg
 
#4
You should be playing loud enough to be picked up by the front two mics. If not, I would get an EV RE20, and stick that between the soundhole and bridge. Should get a nice even sound, as that's an industry standard for micing basses. Not the best for arco, but for bluegrass they sound fine, and if you're playing with a good sound, the mic wont be able to resist picking it up.
 
#5
I am looking into using mics, too. I spoke with Mike Barber, who plays with the Gibson Brothers. He is using 2 mics. I don't recall what two he is using, but you might try the Beta 52a near the treble side f-hole, and something like a Shure KSM 137 near the fingerboard.

I haven't had any gigs to try it yet, but I'm going to try the KSM137 and an AKG D-112. I also need to look at a pickup, but that's a different story.

LeNi
 
#6
Thanks for the input. Some of the mics mentioned are a little out of my price range. I'd like to stay around 200$. That's why I like the ksm 27s. Good price and can be used in the studio or small gigs.

The answer I was looking for was more a theory-type one. "should you use all the same mics so they are bringing roughly the same sound to the board or should each mic be custom fit for each instrument?" I know with lots of inputs going into the board, they should be specialized but if you only have 2-3 mics, is it better that they are the same?
 
#8
lnichols said:
...I'm going to try the KSM137 and an AKG D-112.
Click to expand...

I used a D-112 for years after seeing Curt Chapman, then with JD Crowe, using it at a festival I attended. I spoke to him after their show and he showed me his set up. He had a machinist in Nashville make him a custom clamp that mounted on the bass ribs and held the mic in front of the treble F hole. The sound was incredible. Lately I have been using a pickup, but don't like it at all and I'm thinking of going back to the D-112.
 

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