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Double Bass Clip-on Mics

#22
Brian, really enjoyed listening the Creaking Tree String Quartet on the web site. Even my wife who typically rolls her eyes when she knows I'm on TB came in the room to say positive things. She was born in Glace Bay, Nova Scotia. The sound of the "fiddle" always draws her in. Very cool and very nicely done.
 
#23
I recently picked up a used (and kind of beat up) Audio Technica Pro 95. This is a clip-on gooseneck cardioid mic originally intended for guitar, and was actually designed to be mounted inside the guitar body. The frequency response is from 80-13,000Hz. The mic is powered by a tiny in-line pre-amp with a watch battery and the cord terminates in a standard mono 1/4" jack, which makes it convenient for those without phantom power or an XLR input.

Anyway, I didn't have high hopes, but I got it really cheap so I figured I'd try it out. I have to say, I was very impressed. The tone isn't the greatest I have ever heard, but it is a whole lot better than just a pickup (I usually mix it). Most importantly, in my view, I find it almost impossible to make it feed back, even running it directly into my amp right next to me on stage. This has been my #1 complaint with almost every single mic I have used live--you slowly turn up the volume and just when you start getting to the point where you are getting enough gain to make the mic worthwhile, you start getting something annoying: screeching, low booming notes, strange ringing sounds, or whatever. With this mic I am not having this problem. I have been able to do some gigs with the mic only that I didn't think I would ever be able to do that on.

Unfortunately, this mic appears to be discontinued, but if you happen to find a cheap used one that you can try out, give it a listen. A couple of little issues I have with it: first, I occasionally got a bit of low-end boominess when I played the E string. I think this was mechanical noise transferred through the tailpiece where I have the mic clipped on. I fiddled with EQ and placement and it is better now. Second, the gain is quite low ( in spite of the manual's claims to the contrary). I have to crank the pre-amp level on my Clarus way higher than I ever had with another mic or pickup. This could be a problem with this individual mic (it is used and kind of beat up).

Anyway, the moral of my story is that sometimes the ideal mic for your bass may not be one that is normally thought of as a bass mic. Try as many as you can.
 
#28
billmac said:
Does anyone use the ATM 350 for live performance? Recording should be no problem using 48v phantom power, but what about playing through a regular bass amp? Is there some way of using the mic with a 9v battery?
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billmac, some bass amps like AI provide phantom power, but probably most do not I reckon. Most don't have XLR inputs like the AI either, although an adapter can fix that. I guess you could put a preamp in front of your amp maybe to provide phantom.

Like Jake said, running a mic to the PA is one thing. But IME running a mic into a bass amp can be more challenging. In terms of "PA like" tone from your rig (or absence of it), and in terms of getting useable volume before feedback. That said, it is still often workable and still worth it IMO.
 
#29
I used my ATM 350 on a gig for the first time on Saturday. I connected it into our PA which comprised a Laney amp, with phantom power, and two 12" speakers on stands. So the spec was not particularly great. I couldn't get a decent volume without rattling the cones but the bit of sound I did get was very promising; real genuine double bass sound. So, all a bit frustrating. Also, in the absence of a good sound guy I was unhappy that I had no control over what was coming out in front.

I think that a viable suggestion might be - are you concentrating?- might be to mix a pup and mic into the two channels of my Clarus, have the pup coming out of the amp into the backline, usually a 12" wizzy, could be 10". Then take the mic signal out of the effects send and feed into a small power amp (suggestions anyone?) and go out of the power amp to a front of stage speaker on the flooor, 12" or10" wizzy. Sounds a bit complicated, but that would defeat the feedback, give some front of stage projection and give me control over my own rig.

PS, have just fitted a Planet Wing - nah! Is it me? I'll post later. Just off to Gran Canaria for a two week gig so may not have time to post. Love y'all.
 
#31
Roger Davis said:
I think that a viable suggestion might be - are you concentrating?- might be to mix a pup and mic into the two channels of my Clarus, have the pup coming out of the amp into the backline, usually a 12" wizzy, could be 10". Then take the mic signal out of the effects send and feed into a small power amp (suggestions anyone?) and go out of the power amp to a front of stage speaker on the flooor, 12" or10" wizzy. Sounds a bit complicated, but that would defeat the feedback, give some front of stage projection and give me control over my own rig.
Click to expand...
Roger, if you are using a two channel Clarus or Focus, check the Owner's Manual re: the operation of the "Ch. 2" button. I think it is designed to do what you described.
 
#32
bolo said:
Roger, if you are using a two channel Clarus or Focus, check the Owner's Manual re: the operation of the "Ch. 2" button. I think it is designed to do what you described.
Click to expand...

Bolo, that's right, hence my suggestion. The 'send' from Clarus or Focus will need to go into a separate power amp. Any suggestions for a small, neutral-sounding, simple, 300 watter?
 
#33
Roger Davis said:
Bolo, that's right, hence my suggestion. The 'send' from Clarus or Focus will need to go into a separate power amp. Any suggestions for a small, neutral-sounding, simple, 300 watter?
Click to expand...
Sorry, no. Sounds almost like you just want a 300 watt PA type power amp. Maybe someone else will chime in.

Edit - You might could also look at the D-TAR Solstice to get the same functionality without the "Ch. 2" thing on the AI. The Solstice would sit in front of the AI. The price might be same or less than a power amp, I dunno. Depends on your gigging needs which solution would be applicable most often for you. The D-TAR allows you to split the two channels (say mic and p/u) or blend them. Or send a blended signal to the backline and a mic only to the house say in larger settings. Or use it for doubling gigs on DB and EB. Two 10 Mohm dual inputs, independent phase reversal for each channel, mute, transparent sound.
 
#36
Hey Jake and everybody else, what's the latest update after 6 years of experience?
Is the ATM 350 or ATM pro35 still the way to go?
Is the pro35 lo-freq response low enough for DB?
Which one has better gain before feedback?
Is the 350's optional hypercardiod element worth considering for DB?
Any other observations/recommendations?
 
#37
Since last visiting this thread, I've gone to a few different mics, and, as always, returned to the ATM 35. I even had an ATM 35 go missing on a gig, and had to hunt one down used. If you give it a couple months and keep checking, one is bound to pop up on eBay. I haven't compared to the ATM350 or Pro 35.
 

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