Double Bass Chuck Israels signature mic

[bassmanbrent]

Hey all,
Has anybody seen this? There isn't much info at all at present, but this kinda stuff always gets my attention...

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[B String]

Not much info is an understatement. Things like price and where you can get it in the US, or a picture of it mounted would be nice. Israel's has always had a great sound, (bass and hands) so he's probably had some good input.

 

[rickwolff]

YES BUT, if you go to the website it will email an audio clip of Chuck recording a new album, apparently with no acoustical separation between intstruments, and

THE BASS SOUNDS INCREDIBLE. Here is the file

 

[Ric Vice]

YES BUT, if you go to the website it will email an audio clip of Chuck recording a new album, apparently with no acoustical separation between intstruments, and

THE BASS SOUNDS INCREDIBLE. Here is the file

I watched Chuck Israels using the microphone at the Acoustic Image booth during the ISB convention earler this month. Hard to tell, since I didn't hear him at his concert. In close proximty to the amp, it did ocassionally feed back. Just my take.

Ric

 

[rickwolff]

I watched Chuck Israels using the microphone at the Acoustic Image booth during the ISB convention earler this month. Hard to tell, since I didn't hear him at his concert. In close proximty to the amp, it did ocassionally feed back. Just my take.

Ric

Since he was at the Acoustic Image booth I would guess he was using one of their down-firing speaker cabs. In my experience they are the most feedback prone cab of any I have played. The design which is intended to 'spread the sound out omnidirectionally' does just that and way too much of it finds its way back to the microphone. As you know, many bassists have employed various feedback-killing techniques such as putting a speaker up on a pole, or standing beside the speaker cab rather than in front of it. The AI design makes those 'solutions' unworkable. By accomplishing their desired goals with the down-firing speaker AI has made it difficult, if not impossible, to utilize a mic.

As you like to say: 'just my take'. But I imagine that also explains why you only use your DPA for FOH (if I recall correctly).

 

[rickwolff]

PS to Ric Vice:

One mic I have NOT tried with an AI downfiring speaker is my Ischell 'Contact mic'. I wouldn't be surprised it that works fine with the AI gear since it is acoustically 'sealed' to the table of the bass. I have learned through experience that if the putty 'donut' loses its seal you can indeed get some very nasty feedback, but as soon as the putty seal is restored the feedback disappears.

Be all that as it may, I still think Chucks mic on that recording clip sounds quite fabulous.

 

[Ric Vice]

Since he was at the Acoustic Image booth I would guess he was using one of their down-firing speaker cabs. In my experience they are the most feedback prone cab of any I have played.....

As you like to say: 'just my take'. But I imagine that also explains why you only use your DPA for FOH (if I recall correctly).

All good points Rick. Rick Jones of AI provides all the amplifiers for the ISB convention at his own expense. While AI cabinets aren't something I use, I do like their amps, even though I use my Walter Woods that I've owned for a long time. The DPA has been retired, for a long time, I use an Ehrlund EAP directly into the amp and a used MAS 4x5. I couldn't be happier. Chuck does sound fabulous on that clip. He's a remarkable player.

Ric

 

[JAKBOUND]

Chuck didn't use any amplification that I could see at his ISB performance. He was awesome aided only by Seth kimmel's latest Cedar / walnut bass. Kudos to The piano and guitar that allowed that possibility. I did see him with the microphone at the exhibit it appeared to be mounted on an h clamp. I didn't get to hear it as I was dashing off somewhere else.

 

[Ric Vice]

Chuck didn't use any amplification that I could see at his ISB performance. He was awesome aided only by Seth kimmel's latest Cedar / walnut bass. Kudos to The piano and guitar that allowed that possibility. I did see him with the microphone at the exhibit it appeared to be mounted on an h clamp. I didn't get to hear it as I was dashing off somewhere else.

There were a lot of non amplified performances in the Nibenhauer recital hall. That sounded beautiful because the space was ideal for bass. Chuck was using the H Clamp to mount the Xlson mic on the bass.

Ric

 

[peteswanson91]

From their sales team:

• Price point: around €1200 + VAT/Duties (when applicable)
  
• 30 days return policy - no questions asked
  
• 5 year warranty
  
• First batch of 50 mics arrive in August.
  
• Manufacturer: Pearl Microphone Lab, Sweden
  
• Near-filed condenser microphone, 48 v phantom power

 

[Ric Vice]

From their sales team:

• Price point: around €1200 + VAT/Duties (when applicable)
  
• 30 days return policy - no questions asked
  
• 5 year warranty
  
• First batch of 50 mics arrive in August.
  
• Manufacturer: Pearl Microphone Lab, Sweden
  
• Near-filed condenser microphone, 48 v phantom power

Thanks Pete,

So it's @$1,330.00 plus VAT. If memory serves me Pearl Microphones
built the first run of the Ehrlund EAP. At that price point we're in Schoeps MK 41 CMC 6 territory, for what it's worth.

Ric

 

[peteswanson91]

I hear that!

 

[Kristian]

It's a friend of mine that designed that mic. Some bassplayers in Sweden has tried the prototype and seems very enthusiastic about it. I havn't tried it myself (since I don't live in Sweden any more) but I'm following the news on our Swedish doublebass Facebook page. Let's see how it goes!

 

[Ric Vice]

It's a friend of mine that designed that mic. Some bassplayers in Sweden has tried the prototype and seems very enthusiastic about it. I havn't tried it myself (since I don't live in Sweden any more) but I'm following the news on our Swedish doublebass Facebook page. Let's see how it goes!

Kristian,
That's wonderful, hopefully, someone on Talkbass will aquire one. Since I've not really heard the mic being used for a concert, it's difficult evaluate it's performance.

Ric

 

[Kristian]

I can ask my Swedish friends to write a review here.

 

[BasistHenrik]

Hello!

I'm a Swedish bass player residing in Gothenburg. I got a tip from fellow bass player Kristian that you were interested in the Xlson CI mic that i've been trying out together with the designer Peter Axelsson.

First of all, Peter is an excellent bass player with decades of experience on the field and he's also a very experienced recording/sound technician with a serious passion for the acoustic bass and for truthfully capturing the acoustic sound.

My previous experience are mainly DPA (both the bass, piano, violin options), Remic Red, Troll Ribbon and various mic options in front of the bass.

When I tried out the Xlson mic I played a medium sized jazz club (240 p limit) that I'm used to play. It was mainly an acoustic ensemble (Vocals, sax, 2 acoustic guitars, piano). I used it straight into an EA Doubler on one channel, and a Lifeline on the other channel. I played a Wizzy 10" which was mic:ed to FOH. No bass in monitor on stage. We put the mic between the legs of the bridge wrapped in some foam.

The construction of the mic is sturdy, but lightweight. Short cigar shaped with a black metal casing. A long and robust cable is permanently attached (like on Remic). It gives impression to be very robust and "road ready". Comparing to DPA it's probably a lot easier to gig and travel with (I've repaired mine 4 times).

When I used the mic I had no problem with feedback at all. I stood in front of my amp. The first part of the gig was no drums, but I also played a couple of numbers with a drummer and my experience was that it handled that environment very good as well.

The thing that caught my attention the most was that we used the Xlson mic as the main mic and just blended a hint of the Lifeline, and that resulted in a very full range and acoustic sound. I also played some bow with a good result sound wise (even though my bowing sucks!).

In my experience the Xlson mic delivered well beyond my expectations and outdid both DPA and Remic in reproducing the acoustic sound of my bass when amplified.

At the time a had Peter helping me fixing the sound and basically just had to play, but as far as I can recall the setting on the EA was pretty straight with a little cut on treble and mid.

I'll be using it on a few upcoming gigs in the weeks to come on my own to get more familiarized with its possibilities, but I'll be in line to get one when it fully enters the market this fall.

/Henrik

 

[Ric Vice]

Henrick,
Thank you for this very thorrough review. This mic sounds very promising, based on Chuck Israels recorded samples. Hopefully, someone in the United States will decide to distribute the Xlson.

Ric

 

[BasistHenrik]

Henrick,
Thank you for this very thorrough review. This mic sounds very promising, based on Chuck Israels recorded samples. Hopefully, someone in the United States will decide to distribute the Xlson.

Ric

Thank you Ric! My pleasure. If there's something i forgot to write about or any other questions, just ask and i'll try to answer to the best of my ability.

 

[peteswanson91]

Would be interested in seeing how it compares to a Schoeps MK41 ....

 

[Ric Vice]

Hi guys,
my name is Peter Axelsson, and I'm a bass player. I was a student of Red Mitchell in the seventies, and he introduced me to the issue of how to amplify the double bass.
I am not a business man at all. It is very difficult for me to estimate what sound should cost. I understand my microphone is a little more expensive than most, and as for the Shoepes solution it is cheaper, and should deliver better.

As for the price, one thing in the process making this microphone, is that I depend on others that knows things that I don't know, and they put in time and effort to make the best, and in the end, I will have to pay them for their work.
It has been an expensive journey, costing me my favorite bass, made in 1770.

My aim, and my son Leonard's aim is to find a solution in buying this microphone, that doesn't hurt the private economy too bad.

That's where it is right noW.

My reason for making this microphone was that I needed it, and I suspected other bass players needed it too. And if something similar had been on the market, I would have bought it long ago.

But in sound technology it is always a give and take, and my best hope is that my fellow bass players will find that the advantages overrules the weaknesses.

And whatever life you have as a musician, I whish it to be full and with lots of joy

Peter Axelsson

Peter,
Thanks so much for coming to us with your dedication to developing a new Double Bass microphone. I actually got a chance to see it at this years International Society of Bassist convention this year, as Chuck Israels had the first one with him.

You chose wisely. Chuck is renowned bassist, with very discriminating ears. The recorded example of his performance using the Xlson is very impressive. Here's wishing you the best in your endeavor.

Ric