Double Bass Cool New Mic holder for upright

[Earl]

The clamp per se looks interesting to provide a relatively safe and non-destructive base.
But I would then combine it with a proper mic holder which allows you to set the direction and the angle, i.e. adding something like a clamp used for drums.

For comparison, here's my vocal mic holder construction that I'm using for busking:

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The mic I'm using is not the best one (an Audio Technica), but it's the lightest one I own. An SM58 is already a bit too heavy, and you can't fool the physics all too much…

I always wondered what the scroll would sound like amplified!

 

[Ric Vice]

A clamp on a tailpiece that has been shaped, weighed and constructed to be acoustically ideal seems like a terrible idea. No? I don’t even like hanging my bow quiver on my tailpiece anymore.

That’s why in my particular setup( with a Pecanic compensated tailpiece) I use the Remic D5400 Red or D5400 Green with their minimally invasive camera foam mounts and small footprint. Understandably, anything that interrupts the transmission of energy between the strings and the top plate will affect the sound of the instrument. So even bridge adjusters effect sound, but that’s a necessary compromise for me. Just my take however.

 

[Slevage]

A rubber ring suspension of the mic would decouple tailpiece and mic weight so that there would be less volume loss and dampening of higher harmonics.

The side address means to change the mic to a side addressed one, not to change the holder. That would get a bit more mic volume and a more direct sound.

The weight of the mic remains constant no mater the mounting method (gravity).

 

[DoubleMIDI]

The weight of the mic remains constant no mater the mounting method (gravity).

But the coupling changes depending on the mount (fixed or elasticslly suspended).
There is a reason why condenser mics are typically suspended (at least in the recording studio).

 

[Slevage]

But the coupling changes depending on the mount (fixed or elasticslly suspended).
There is a reason why condenser mics are typically suspended (at least in the recording studio).

Yes the coupling changes.

 

[Jason Sypher]

That’s why in my particular setup( with a Pecanic compensated tailpiece) I use the Remic D5400 Red or D5400 Green with their minimally invasive camera foam mounts and small footprint. Understandably, anything that interrupts the transmission of energy between the strings and the top plate will affect the sound of the instrument. So even bridge adjusters effect sound, but that’s a necessary compromise for me. Just my take however.

The Remic solution always gives me pause, touching both the table and the tailpiece, not to mention the fixed position. Also, it is quite e pensive. But your insistence on it always makes me curious. I like the freedom of the gooseneck, the slightest change really affects my frequency profile. But I do believe you when you say the Remic is a great mic.

 

[Ric Vice]

I think we’ve moved past these types of mounts with the DPA 4099 DVote, Neumann MCM 114, Nadine, Remic D5400, D5400 LB, and Reshape
Xlson Mini et.al. Being reasonably priced and easier to mount. Just my take the Explore Audio and Onstage Mic Mounts are so cumbersome by comparison.

 

[Jason Sypher]

I do find this clamp to be quite versatile and easy to use with one hand.

 

[Francois Blais]

I don't see how it can be used.

 

[daveriedstra]

I don't see how it can be used.

It clamps to the ribs and a gooseneck mounts on it. MC 4 - Clip Double Bass

I like it in principle as the ribs vibrate less than than the bridge, afterlengths, or tailpiece. I haven't tried this or an H-clamp but the gooseneck looks a little short on the Neumann site and from what I've read here the H-clamp is finicky.

Incidentally, here's a system I've started trialling. It's an ATM350 capsule liberated of its noisy foam and gooseneck and strapped to the treble bridge leg with a cable wrap and soft foam. Works well enough for reinforcement. Haven't tried with a drummer yet but it did well with a 9-player free improv group last week.

 

[Jason Sypher]

I don't see how it can be used.

I don’t put it here exactly but you get the idea…

 

[Francois Blais]

Ok, thanks for the info guys!

Incidentally, here's a system I've started trialling. It's an ATM350 capsule liberated of its noisy foam and gooseneck and strapped to the treble bridge leg with a cable wrap and soft foam. Works well enough for reinforcement. Haven't tried with a drummer yet but it did well with a 9-player free improv group last week.

Ingenious and light!

 

[daveriedstra]

Ingenious and light!

Thanks -- it's not my idea, I just saw an image of something similar online somewhere and thought I'd try it.

 

[Ben Noblit]

The Remic solution always gives me pause, touching both the table and the tailpiece, not to mention the fixed position. Also, it is quite e pensive. But your insistence on it always makes me curious. I like the freedom of the gooseneck, the slightest change really affects my frequency profile. But I do believe you when you say the Remic is a great mic.

You must be a much more patient person than me. I can’t stand goosenecks for that same reason, there’s always a perfecter way to point it and if you just gimme five more minutes i swear I’ll find it. . .

Nadine adds all the weight to the tailpiece and I can hear the difference but when its on it’s on and it’s the soundpersons problem from there on out, and I can go have a pint and just worry about playing the dang thing.

 

[Ed Fuqua]

I think I’m sticking with this…

 

[Jason Sypher]

You must be a much more patient person than me. I can’t stand goosenecks for that same reason, there’s always a perfecter way to point it and if you just gimme five more minutes i swear I’ll find it. . .

Nadine adds all the weight to the tailpiece and I can hear the difference but when its on it’s on and it’s the soundpersons problem from there on out, and I can go have a pint and just worry about playing the dang thing.

Oh I set it and forget it. Usually somewhere near the contact point of the sound post. If I need a little more bump I might move it slightly towards the f-hole. I used a Nadine a lot on tour. I never liked being so tethered to a big heavy mic. After soundcheck I’d want to take my bass somewhere and practice and it would feel like a whole ordeal. My FOH guy, Pete, swears by it. He’s Christian McBrides FOH as well so it’s hard to argue with him.

 

[Jason Sypher]

I think I’m sticking with this…

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Yeah. Im most curious about the Schoeps mic, like Larry plays. Everyone just has to get their sound out there. Luckily there are more ways than ever to do that!

 

[Francois Blais]

I think I’m sticking with this…

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Is that a Chorda G you have on, Ed?

 

[Jason Sypher]

Is that a Chorda G you have on, Ed?

I thought they were pajamas

 

[Paul New]

A plain ol’ SM57 wrapped in plain ol’ foam and wedged just tight enough into my ol’ Acoustic Image Combo is the best amplified sound I’ve achieved so far. Looks a little ghetto with the green foam but would have been perfect for St Pat’s.