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Double Bass Microphones for live Double Bass Amplification

#21
LyonsBass said:
Also what is the difference between the ATM350 and ATM35? Is the 350 basically the upgraded new version?
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I just purchased the ATM350 after gigging with a Pro35 for 2 years [lost the Pro35!]. I grabbed one for only a few dollars more than the price of the 35 so figured why not upgrade.

With all the different factors in play- room shape/size, different sound men, different PA's- it's tough to hear a real distinct difference between the mics. Both have a low cut on them, both sound great straight to the FOH. Like ee-san said, it is easy to adjust the 'sound' with a simple and subtle repositioning of the mic on the table.

The most noticable difference is in the build of the mic: the cable is heavier, the gooseneck and clip is more substantial. The ATM350 feels like it will last longer... that is, if I don't lose it again!!
 
#22
Indeed. You definitely get what you pay for. I've had good luck with the pro35 but I do feel like the cord is a little cheesy. I figure that if it breaks I'll just get another at that price. I do want to A/B those two for fun.

It does take a little time to find a good spot to put it. I have it clipped on my G side adjuster wheel bent over near the G side bridge foot. See the pic link I posted earlier. I've learned that I can get a bassier or more detailed sound depending on the distance from the top and the proximity to either the bridge foot or the f hole.
 
#23
The ATM series is MUCH more substantially built, more consistent from mic to mic, and a more even polar pattern (pattern versus frequency). IME, there is no comparison if you are looking for a mic that will last, especially under touring conditions. The Pro series is a good alternative where cost is a major factor however.

Regarding cardioid versus hyper-cardioid, the general rule of thumb is that he more directional a mic becomes, the less even the frequency response is, ESPECIALLY the off axis response. The main side effect of achieving directionality (which is done by acoustically delaying a portion of the signal and introducing it to the rear of the diaphragm) is an added lobe at the rear (180 degree position) of the mic's element. This lobe can be a real deal killer in some applications and needs to be considered when placing any monitoring.
 
#24
I just received my ATM350, and got it set up in no time thanks to previous posts in this forum. The clip has a strong grip, and just sees enough of the adjuster wheel on my Gollihur bridge to hold on stably.

I tried this on Saturday in a duo with a guitarist friend using a DPA, and got some very positive comments on our sound saying it was very natural. The ATM went into an Allen and Heath Desk and out to RCF ART10 powered speakers. I had a little bass cut on my channel. I love this setup.

My cable looked a little more gig-worthy than the DPA one - time will tell. Steve

atm350clippedon1.jpg
 
#25
steve_n_his_urb said:
My cable looked a little more gig-worthy than the DPA one - time will tell. Steve
Click to expand...

The guitarist that I play with has had to have the cable on his mic replaced by DPA. To be fair, he's not been easy on it, he has let the thin cable from the mic dangle to the floor and it's been gigged [and trod] on heavily. DPA replaced it for him at no charge.

For the Pro35/ATM350, I coil the excess length of cable, tie that with the velcro cable tie they provide, and I tuck that at the end of the tailpiece in a small piece of foam. I'd like to fiddle with the XLR and fasten that to the tailpiece somehow, semi permanently. Anybody have a way that they use, maybe a clip like the Realist uses?
 
#26
tito mangialajo said:
but the hypercardioid pattern of DPA4099 is better than the cardioid pattern of the PRO35? is here the diference in cost?
the price of PRO35 is very interesting comparing to DPA, but the risk of picking up more sound from the drums maybe increases a lot. opinions?
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Scott Coley told me that the Pro35 picks up less drums then the AMT does. I can confirm that for me this never has been an issue with the Pro35. Sound guys never complained, so far.
 
#28
Just played an unusual gig this weekend. Unusual in the respect that the playing area was so small that we had to set up the PA back against the wall and we played in front of the PA speakers. I used the ATM350 and surprisingly had no issue with feedback.

I was surprised at how much room chatter was picked up by the mic. Bass was plenty loud, but when we were not playing, you could definately hear the crowd.
 
#31
fingers said:
Never been an issue or me. My mic has maybe a 6' cable. I just give the soundman a feed and put the excess in a neat little coil next to my instrument cable on the floor.
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Cool. I have been coiling it and tucking it in the TP in a small piece of foam to keep the built in cable off of the floor [and to keep me from stepping on it!] I am looking to keep it on the bass and maybe mount the jack to the TP somehow.
 
#34
Eric Hochberg said:
My ATM35 has a ridiculously long skinny cable that always is a tangled mess. Will have to get it shortened one of these days...
I took my quiver off a couple of years ago and rarely put it back on. The bass just responds better without it.
Click to expand...

The 350 is pretty much the same [long, skinny, tangle-prone mess]. A friend of mine had to have DPA replace his cable [which was damaged from him repeatedly trudging over it onstage], so I have been keeping it wrapped up and on the bass. Not ideal, but I guess it will do.
 
#35
Hi Juuzek,

I haven't spent any time yet working on making my ATM350 cable neat - it hasn't been a problem so far, but I guess prevention is better than cure. Your idea of coiling behind the tailpiece in foam and presenting the connector appeals to me - I should give that a try.

Maybe the mini-xlr to XLR adaptor with the high-pass switch could be mounted semi-permanently, and the mini-xlr unplugged when removing the mic.

Steve
 
#36
steve_n_his_urb said:
Your idea of coiling [ the skinny cable ] behind the tailpiece in foam and presenting the connector appeals to me - I should give that a try.
Click to expand...
I ended up doing something like this with the skinny cable on my DPA 4099. Coiled and tucked behind the tailpiece. Two black zipties, a small piece of foam (black, because black can "go louder" :smug:), and done. I was not the first to suggest it though. Credit goes elsewhere.

Marc, I understand the potential concern about tailpiece clutter. But really, I have not noticed an adverse effect on tone, unamped. But that's just me.

Quiver ... mm, different story maybe. I have a (cheap) bow, but no quiver. :o
 

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