i think that 57 sounds great. that's a live playing position mostly, i think... why would you do that in a studio where you most likely have multiple mics and stands to choose from? for live playing that position works very well. likewise for the dpa mic. the spot that they like, near the F hole, would never work for live playing (ive tried). it feeds back like crazy. you see everyone using it between the bridge feet pointed at the table for a reason. likewise for the 57's position. mic use for recording vs live use are are completely different animals
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Incredible MIC COMPARISON BY SWEETWATER with audio clips
- Thread starter rickwolff
- Start date
Game changes too, if you use the bow...
It really does, I'd also add that stylistically, the alt Country, Folk, Pop (choose any one style) style of music sounds great into those large diaphragm condensers, in part because it's a two beat bass line with fills. There is a recovery space, where the notes die off on beats 2 and 4. Before I purchased one, I'd have to play 4 beat swing into one to see how well these microphones do with a constant succession of notes. Sometimes you get such rich, full, individual notes, that the time feel and decay get absorbed by the beautiful pillowy sound.
Wow, all things considered the Full Circle sounds good against some very pricey mikes. I'm just fine with mine.
I agree, if you want a recording and live performance microphone the Schoeps CMC6/MK41 is exquisite. They have a long cable that allows you to separate the capsule, from the amplifier. DPA has some incredible small microphones that sound great and are easy to mount as well, but they are way above the price of the 4099 Devote Core.
i'm a little late to the party on this but to me, it sounds like they just aimed all the mics at the f hole, which is not the way to mic a bass. i think all we're hearing is the low end coming out of the f hole, so therefore, all the mics sound kind of similar. having said that, my favorite is the aea r44 24" from the bass, probably because its back far enough to get some articulation in the sound. the aea r84 sounds really dark and muddy to me, and i know that's not how that mic has to sound. i bet if you bring it back it would sound close the the r44.
I find it fun to revisit these comparisons almost a year later.
I am still using my Xlson Chuck Israels Mic - sometimes with a little added KNA piezo for live situations.
I went back and reviewed some of my old sound clips where I was comparing inexpensive microphones. I still have to say that my ATM 350 sounded really good for $300 with included gooseneck. Also, a CAD CM217 small diaphragm mic for $79.
Alone Together was recorded live with the ATM 350 mic.
I am still using my Xlson Chuck Israels Mic - sometimes with a little added KNA piezo for live situations.
I went back and reviewed some of my old sound clips where I was comparing inexpensive microphones. I still have to say that my ATM 350 sounded really good for $300 with included gooseneck. Also, a CAD CM217 small diaphragm mic for $79.
Alone Together was recorded live with the ATM 350 mic.
Some weeks ago I had the possibility to check out another interesting candidate..
An OC818 from Austrian Audio...
and it worked really awesome.. not yet so well-known (I believe?!?!), but a really impressing mic and not soooo expensive for that, I heard and saw...
An OC818 from Austrian Audio...
and it worked really awesome.. not yet so well-known (I believe?!?!), but a really impressing mic and not soooo expensive for that, I heard and saw...
Ah, the pillowy sound of the Telefunken U47. But admittedly, it is confusing with the different placements....
While I really commend Sweetwater for putting this up, what I'd really like to see is the same kind of comparison between the
most effective microphones that can be used both for live performance and are suitable for studio recording. If you took the Remic Red and Green,
the Xlson, the Nadine, and The DPA 4099 Devote Core those four microphones are in the same ballpark sound wise and cost wise. Rick's already
done an exemplary job with the Xlson, while Adam Booker did the same with the Remic Red, White and Green (sorry I just couldn't resist that one)
Chris Fitzgerald did a wonderful job with the Nadine a while back, We just need someone to put them together in the same place. I don't remember any
examples of the DPA 4099 Devote Core other than DPA's own videos which are really good.
most effective microphones that can be used both for live performance and are suitable for studio recording. If you took the Remic Red and Green,
the Xlson, the Nadine, and The DPA 4099 Devote Core those four microphones are in the same ballpark sound wise and cost wise. Rick's already
done an exemplary job with the Xlson, while Adam Booker did the same with the Remic Red, White and Green (sorry I just couldn't resist that one)
Chris Fitzgerald did a wonderful job with the Nadine a while back, We just need someone to put them together in the same place. I don't remember any
examples of the DPA 4099 Devote Core other than DPA's own videos which are really good.
Well, all one would have to do is collect the videos and put them on a page, it isn't necessary to "re invent the wheel. They're all out there on Talkbass and Youtube.
Some weeks ago I had the possibility to check out another interesting candidate..
An OC818 from Austrian Audio...
View attachment 4128646
and it worked really awesome.. not yet so well-known (I believe?!?!), but a really impressing mic and not soooo expensive for that, I heard and saw...
It's a great mic but a bit to big/clumpsy for live use.
Haha! You're right!Compared to some mics mentioned on the website of Sweetwater the OC818 appears downright slim
Just from my layman's point of view, I see no benefit in trying to use a microphone that is expressly designed for use in the studio, as a live performance microphone. There are to many excellent options out there
that do both studio and live well. The Remic's the Xlson, the Nadine, the Troll Ribbon mic, and even the DPA Devote Core. I guess if I was headed that way I'd go with the Schoeps CMC1MK41 combo, but that's
a big investment. Just my take.
that do both studio and live well. The Remic's the Xlson, the Nadine, the Troll Ribbon mic, and even the DPA Devote Core. I guess if I was headed that way I'd go with the Schoeps CMC1MK41 combo, but that's
a big investment. Just my take.
For the most part that's what their showing, however, when the DPA 4099 Dvote Core and the ATM 350 are added into their mix I think it muddies the waters as those
are used for both live and studio recording. Just my take however. They also demo a Fishman Full Circle.
While that is interesting, IMO it's a bit of a reach. Most of us do not have fully equipped recording studios with the ability to choose from among a plethora of $5K mics, and when that scenario arises the mic is typically the choice of the producer or engineer.
What would be more interesting would be mics geared to live performance, each one being recorded in the so-called "sweet spot" and then again over an F-hole.
So compare the 4099 to the ATM350U, along with "The Feather" and similar mics by Shure and Beyerdynamic and Audix - along with some of the less expensive brands. Plus the ubiquitous 57, and a few other similar dynamic mics. THAT would be a valid comparison.
Last edited:
