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Double Bass Headway EDB-2 VAP or Tonedexter?

#21
Ric Vice said:
Not my experience at all, with my bass, a Remic D5400LB and, either the Headway EDB-2 H.E. , Grace Designs Felix, or the GR Bass AT Cube Acoustic. I've not had any thumpy sound at all through many different FOH Systems, larger outdoor festival, smaller clubs, the Sheldon Auditorium, ect. Probably a difference between basses, hard to say, but it's been exceptional for any system I choose to put it through. Years ago, I had the ATM 35 on my bass it just didn't sound that great. Just my take however. Different basses can yield drastically different results. For my money, on my Mirecourt Frence 5/8th's bass you cannot beat the Remic D5400LB unless I'm forced to go to a Pickups, because of volume concerns. Now that's a horse of a different color.:):roflmao:

P.S. Remic had a D540 ( White) that didn't have a internal windscreen, it's been discontinued for a good while. :)
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I meant the D5400LB by the way. Many band members have commented how woofy and thuddy they are in band situations and I have asked bass players to try it as well - no bueno. So not just my bass. Plus they really do not handle a lot of volume. and if you do not have much leeway in your stage plot and you are next to the drums, it's a mess I've moved the position around as well . Now the red, that's awesome. for tracking in the studio - fairly flat and close to MBOL.

Maybe I got a defective unit, I bought it second hand, I've passed it on and that player uses it only for duos and after a while he just went back to his old system. There is a reason many of us here on TB do not use it and it is very rare to see it on non TB double bass players.

The AT I have -- I use it on other things, bari sax and even a guitar I removed the EQ preamp plate on. The mic on mine is a hyper cardioid pattern and has a good rejection. After I got mine no reason to look for another mic
 
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#22
logdrum said:
I meant the D5400LB by the way. Many band members have commented how woofy and thuddy they are in band situations and I have asked bass players to try it as well - no bueno. So not just my bass. Plus they really do not handle a lot of volume. and if you do not have much leeway in your stage plot and you are next to the drums, it's a mess I've moved the position around as well . Now the red, that's awesome. for tracking in the studio - fairly flat and close to MBOL.

Maybe I got a defective unit, I bought it second hand, I've passed it on and that player uses it only for duos and after a while he just went back to his old system. There is a reason many of us here on TB do not use it and it is very rare to see it on non TB double bass players.

The AT I have -- I use it on other things, bari sax and even a guitar I removed the EQ preamp plate on. The mic on mine is a hyper cardioid pattern and has a good rejection. After I got mine no reason to look for another mic
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Could be It’s exclusive to my basses hard to say, not sure? :)I’ve never had any issues on those instruments. Both are smaller basses. One’s the aforementioned 5/8th’s Mirecourt the other’s a Kolstine Busetto Travel Bass. Great sound, no thumps, plenty of volume with the Headway EDB-2 H.E. Grace Designs Felix, or the GR Bass AT Acoustic combo. So different experience here. Just my take. 😊 I just scored their newer Remic Reshape Super Cardioid, we’ll see how that goes.
 
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#23
logdrum said:
I meant the D5400LB by the way. Many band members have commented how woofy and thuddy they are in band situations and I have asked bass players to try it as well - no bueno. So not just my bass. Plus they really do not handle a lot of volume. and if you do not have much leeway in your stage plot and you are next to the drums, it's a mess I've moved the position around as well . Now the red, that's awesome. for tracking in the studio - fairly flat and close to MBOL.

Maybe I got a defective unit, I bought it second hand, I've passed it on and that player uses it only for duos and after a while he just went back to his old system. There is a reason many of us here on TB do not use it and it is very rare to see it on non TB double bass players.

The AT I have -- I use it on other things, bari sax and even a guitar I removed the EQ preamp plate on. The mic on mine is a hyper cardioid pattern and has a good rejection. After I got mine no reason to look for another mic
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What hyper cardiod mic do you use?
 
#24
tito mangialajo said:
What hyper cardiod mic do you use?
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I have an old ATM350. It is hyper cardiod, so a lot of rejection. I think that pattern was a special order back then. I think for the money, I would see if Rick Wolfe a well known member here has some excellent mics for sale. The new ATM 35 are still expensive. Also note my experience iwith the Green Remix s only that one mic. @Ric Vice has more experience including the newer versions and you should probably listen to him as I dm only one data sample.
 
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#25
logdrum said:
I have an old ATM350. It is hyper cardiod, so a lot of rejection. I think that pattern was a special order back then. I think for the money, I would see if Rick Wolfe a well known member here has some excellent mics for sale. The new ATM 35 are still expensive. Also note my experience iwith the Green Remix s only that one mic. @Ric Vice has more experience including the newer versions and you should probably listen to him as I dm only one data sample.
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I just got the Remic Reshape Super Cardioid so the jury will be out on that one until I run it through it's paces. Audio Technica has four different versions of the ATM and I know virtually nothing about the new ones there's quite a price range in the ATM 35/350 series
they all appear to be cardioid microphonesj but designed for different applications. . The DPA 4099 Dvote is a Hyper Cardioid microphones which IME had better off axis rejection. The Neumann. MCM 114 is also a miniature Cardioid.
 
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#27
The Tonedexter II changes my world. Over the years, I've tried a variety of pickups, preamps, etc. I never have achieved the common goal of " my bass's acoustic sound only louder" until I sprang for the Tonedexter. With the mapping feature, it really does a wonderful job at duplicating your bass's natural sound. In my opinion it's the holy grail!
 
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#29
sidonbass said:
The Tonedexter II changes my world. Over the years, I've tried a variety of pickups, preamps, etc. I never have achieved the common goal of " my bass's acoustic sound only louder" until I sprang for the Tonedexter. With the mapping feature, it really does a wonderful job at duplicating your bass's natural sound. In my opinion it's the holy grail!
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Hi Sidonbass! It's easy working with the Tonedexter finding the right sound? Or do you need a degree in aerospace engineering?😂🤣
 
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#33
elmer said:
Does anyone else experience the Headway EDP-2 being noisy? I get annoying hissing (white?)noise already with gain and master vol at twelve o´clock through my GR AT cube 112-350 active cabinet.
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Not sure whether my ED B-2 H.E. Would do that through my GR Bass AT Cube Acoustic in the Pure mode. I’ll check it out and see.:thumbsup:👍
 
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#37
robert_stuart said:
By "very cheap" do you mean the $250 Beyerdynamic MM-1? 😅
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From the TD manual:

“Microphone. It doesn’t need to be expensive. What works best for studio recording is not necessarily optimum for training as the requirements are different. ”

And:
“A small diaphragm condenser (capacitor) mic is recommended. Large diaphragm mics can also work well but may be more finicky about placement due to their response coloration.

• Dynamic mics such as common vocal mics, can yield good results though generally will not have as much high frequency information, and tend to be quite colored. However, that might just be the sound you’re after!

• Tube (valve) mics, due to their high non-linearity, are not recommended but may yield good results nonetheless.

• Both cardioid and omni-directional pickup patterns will give excellent results. Using an Omni mic can often get a more balanced sound quicker.

• Ribbon mics may also be used. Passive ribbon mics may be used so long as they can tolerate 48V phantom power. If using a passive ribbon mic, consider either plugging in the mic first before powering up the unit, or first disabling 48V phantom power.”
 
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#38
tito mangialajo said:
I'm at a crossroads: either I buy a Headway EDB2 VAP preamp again, which was stolen from me some time ago, and use it live with Realist Lifeline pickups and an Oktava MK012 microphone; or I switch to the Tonedexter and no longer carry a microphone on stage. Ideas? Suggestions?
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I have ToneDexter V1. It's great and works as advertised. V2 is improved.

I suggest getting the ToneDexter, training it with the mic you have, then leaving the mic at home. The Lifeline is listed on the Audio Sprockets site as a pickup that works well with TD.

Try it for a year. Then evaluate if you want to keep it, or sell it and try something else.
 
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#40
tito mangialajo said:
...off topic: Ric, wich is best for live use: RemicD5400 or D5400LB? Differences?
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The Remic D5400(Red) is purely a studio recording microphone. It’s not really well suited to live performance. The Remic D5400LB has a really unique capsule to quote Bjorn from Remic is “a omnisphere suppresion microphone” ( see picture below)
GREEN-POLAR-VIOLIN-LB-2-model-2-1024x375.jpg
. The new Remic Reshape 7200 is a Super Cardioid.
 

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