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My brother was by this evening to watch the Dwayne Wade free throw shooting parade (how do you say, "drive into the lane and fall down" in x's and 0's?), and brought his camera with him. Here's a few shots of the new twist on the mounting system.
It looks right to me, it's flat and appears to be in good contact with the top part of the bridge. I'm not sure what it is you are seeing that seems incorrect.
On the picture, it seems doesin't installed correctly in the bridge! Fishman recomeds "the hot side of the pickup has to lays absolutely flat with no gaps or voids where it contacts the bridge". In my bass the hot side is look to the body not to the strings (Threads up), I think this method produce a more natural attack and less nasality.My brother was by this evening to watch the Dwayne Wade free throw shooting parade (how do you say, "drive into the lane and fall down" in x's and 0's?
Hi Chris:As mentioned in the other mic thread, I've recorded a few solo cuts to compare the sounds of various mics in combination with the Full Circle pickup for live sound applications. While this comparison isn't exactly scientific, it's better than nothing and will perhaps give interested people a general idea about the sound of the mics involved.
Part of the reason that the comparisons are unscientific is that they involve two basses. Both are New Standard LaScala basses strung with Dominants, but one is a hybrid and one is a ply. Both are great sounding basses, and later I'll post some soundclips of each in a trio setting that was recorded in the same room with the same guys and with the same settings.
For the purposes of this test, the idea was to compare the signals being sent to an onstage amp (I also send the mixed signal to the house through the DI, but that's another story). For this reason, each signal, whether it be a mic signal or a pickup signal, was routed through my onstage signal path: The amp is an Acoustic Image Focus 2R, series III. The Full Circle signal is going through channel 1, and is EQ'd the way I usually set it for live sound, with the HP filter set at 70 Hz. The mic signal goes through channel 2, set flat except for the same HP filter. The signals were routed out of the effects sends and into Digital Performer, each on its own track. There were no effects on the DP track except for a light Plate Verb on the master track which I forgot to turn off.
The playing is nothing special, just standards where I play the melody in, 2 feel line, walking line, solo, and melody out. These are all first takes, and all full of clams...they were created to be a reference of the sound of the gear, and were never intended to be great art. Which, all things considered, is a good thing.
Anyway, the first three cuts are the tune, "If I Should Lose You" played on the laminate LaScala through the Full Circle and an old SM58 crammed between the afterlength of the strings with the diaphragm positioned about 2" from the top at about a 45-55 degree angle.
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If these links work and there's interest, I'll post the AMT clips later tonight, and add new mics on as I experiment with them. Here goes nothing!
EDIT: Special thanks to Phil Maneri (aka Uncletoad) for hosting the clips, and for putting up with my technical ineptitude while I was trying to upload them.
