EDIT
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I didn´t get any reply, I guess because I wrote too long. so, for those intereseted, below is my original post.
here are the questions I wanted to ask at the bottom:
"So, if you´re still with me I apologize for writing such a long post, and here are my questions:
My Eden WT-550´s manual only says that it has a buffered input that "will handle standard passive, high
level active, and piezo input signals", but no numbers.
-> Anyone can tell me how well the Eden works with the FC without a preamp?
-> While we´re at it, how well does it sound with the bow?
Thanks!"
------
hi, I did a search but didn´t find what I was looking for.
I think my thoughts about amplification has changed recently, similiar as Adrien Cho described it in his thread a few weeks ago. I too divide my gigs into "concerts" and "jobs". At a concert setting, I always play with no or little amp volume, and my Neumann Km184 between the bridge legs into the PA. On jobs (or with loud drummers), I usually bring the amp and just try to be heard.
Also I have changed my taste in acoustic sound, I played obligatos for a few years (coming from spiro and jazzer), and liked the dark & warm sound and was thinking about trying some sort of gut string.
But I actually got tired of the somewhat undefined pitch and I am really looking for clearnes now - in pitch, articulation and ideas (just to be sure - nothing against gut-players). I play the bel cantos now, but I wouldn´t be that suprised if I would try the spirocores again some day.
I am using the AKG C411 contact mic, which is similar to the Schertler Stat-B, with the Presonus Tube-pre (which is pretty linear when using only the gain knob, not the drive knob) for phantom power and the Eden WT-550 with one, sometimes two Acme Low-B1s.
I liked the sound of this setup very much for the first few months, but I now think it is hard to control. With the obligatos I would have quite good sound with the AKG over the bass bar, though a little boomy. funny enough with the belcantos this position is more boomy, every other position I tried is too nasal.
Also I am tired of having to carry the wal wart for the TubePre (the cable always gets worn out), the TubePre, the mini-XLR to XLR adapter, a regular XLK cable, a jack cable - if you know me, you know there was more than one gig were I forgot something and my whole chain broke down - blisters, you know the story.
Also it´s not so good feedback wise.
Another thing is the bleed of other instruments - I didn´t really notice this while playing (I never recorded the C411, always the neumann), but at a not so loud rehearsel I played around with a looper and I had a laugh when I recorded conversations between the drummer and trombonist (that´s another story) - but this made me realize how much I amplify the rest of the band over the C411.
I think I am getting either the Full Circle of the Vektor. I think I like the FC more, because there is no need for phantom power (less things to forget, less hassle) and I don´t need to cut the bridge and the MPM adjusters.
------
I didn´t get any reply, I guess because I wrote too long. so, for those intereseted, below is my original post.
here are the questions I wanted to ask at the bottom:
"So, if you´re still with me I apologize for writing such a long post, and here are my questions:
My Eden WT-550´s manual only says that it has a buffered input that "will handle standard passive, high
level active, and piezo input signals", but no numbers.
-> Anyone can tell me how well the Eden works with the FC without a preamp?
-> While we´re at it, how well does it sound with the bow?
Thanks!"
------
hi, I did a search but didn´t find what I was looking for.
I think my thoughts about amplification has changed recently, similiar as Adrien Cho described it in his thread a few weeks ago. I too divide my gigs into "concerts" and "jobs". At a concert setting, I always play with no or little amp volume, and my Neumann Km184 between the bridge legs into the PA. On jobs (or with loud drummers), I usually bring the amp and just try to be heard.
Also I have changed my taste in acoustic sound, I played obligatos for a few years (coming from spiro and jazzer), and liked the dark & warm sound and was thinking about trying some sort of gut string.
But I actually got tired of the somewhat undefined pitch and I am really looking for clearnes now - in pitch, articulation and ideas (just to be sure - nothing against gut-players). I play the bel cantos now, but I wouldn´t be that suprised if I would try the spirocores again some day.
I am using the AKG C411 contact mic, which is similar to the Schertler Stat-B, with the Presonus Tube-pre (which is pretty linear when using only the gain knob, not the drive knob) for phantom power and the Eden WT-550 with one, sometimes two Acme Low-B1s.
I liked the sound of this setup very much for the first few months, but I now think it is hard to control. With the obligatos I would have quite good sound with the AKG over the bass bar, though a little boomy. funny enough with the belcantos this position is more boomy, every other position I tried is too nasal.
Also I am tired of having to carry the wal wart for the TubePre (the cable always gets worn out), the TubePre, the mini-XLR to XLR adapter, a regular XLK cable, a jack cable - if you know me, you know there was more than one gig were I forgot something and my whole chain broke down - blisters, you know the story.
Also it´s not so good feedback wise.
Another thing is the bleed of other instruments - I didn´t really notice this while playing (I never recorded the C411, always the neumann), but at a not so loud rehearsel I played around with a looper and I had a laugh when I recorded conversations between the drummer and trombonist (that´s another story) - but this made me realize how much I amplify the rest of the band over the C411.
I think I am getting either the Full Circle of the Vektor. I think I like the FC more, because there is no need for phantom power (less things to forget, less hassle) and I don´t need to cut the bridge and the MPM adjusters.
