Double Bass Microphones for live Double Bass Amplification

[Eric Hochberg]

does the pro35 have a regular xlr plug or a mini? My AT35 has a mini. I see the pro35
comes with the phantom at MF.

 

[Marc Piane]

It comes with an adapter that they call a power module but you still need external phantom power. It is really just a mini xlr to regular adapter and bass rolloff switch.

 

[Eric Hochberg]

It comes with an adapter that they call a power module but you still need external phantom power. It is really just a mini xlr to regular adapter and bass rolloff switch.

Hmmm, the one that came with mine is phantom, too AFAIK, it lets me play through an amp without phantom...

 

[ricky]

AT does have a remote phantom for it... just wanted to hear if there were any other good options- maybe battery powered?

Thanks for the responses!

 

[SweDB]

does anyone know how well it works when you play arco?

Thanks in advance!

 

[SweDB]

and when I say it I mean the ATM350 and/or AT35Pro. =)

 

[Marc Piane]

I use the AT35pro. The arco is nice.

 

[engedi1]

subscribed

 

[fingerbun]

Hi,

Want to move from Realist Pickup to mic. AT stuff has been good for me in the past. Any other mics I should consider besides ATM350 / AT35?

Anyone using them on ply basses? (I have both but there are gigs I won't take my carved bass to, mostly the same ones where I amplify it).

Anyone attaching them to bridges without adjusters?

 

[Michael Glynn]

In addition to the nice clip-on mics, you can try the route of wrapping a mic in a towel and shoving it under the tailpiece, facing up. A little low-tech, but I've had better success with this technique than with clip-ons. Plus if you happen to have an SM58 or whatever lying around, you can give it a try without having to buy more gear.

I generally use an Audio Technica ATM25. I get much more gain before feedback, and when it does feedback it is the boomy kind, rather than the screeching kind. I can often tame it with a parametric EQ (a handy tool to have if you are planning on using mics often).

I should mention that this technique can affect the acoustic sound of the bass by muting the top. On my main bass I just lose a little sustain, but on my Kay it pretty seriously decreases the volume of some notes.

 

[TimmyP]

When using the mic in foam/towel in the tailpiece method, an omni will sound a lot better, as it lacks the monstrous proximity boost - which can be as much as 12dB and is most always centered very near 200Hz.

 

[fingerbun]

In addition to the nice clip-on mics, you can try the route of wrapping a mic in a towel and shoving it under the tailpiece, facing up. A little low-tech, but I've had better success with this technique than with clip-ons. Plus if you happen to have an SM58 or whatever lying around, you can give it a try without having to buy more gear.

I generally use an Audio Technica ATM25. I get much more gain before feedback, and when it does feedback it is the boomy kind, rather than the screeching kind. I can often tame it with a parametric EQ (a handy tool to have if you are planning on using mics often).

I should mention that this technique can affect the acoustic sound of the bass by muting the top. On my main bass I just lose a little sustain, but on my Kay it pretty seriously decreases the volume of some notes.

OK, my initial reaction is that condensers tend to breathe better than dynamics, but a dynamic would be easier if it does the job, and avoids the need for phantom power.

SM58 wouldn't have been my first choice due to the frequency response being tuned for vox, and I don't own one (tho I do own a couple of Behringer clones). The ATM25 has been discontinued and it's replacement appears to be quite a different mic. I do own a Shure Beta52...any comments on how that would work?

I have a BOSS eq pedal....what is the advantage of parametric. Any specific model you would suggest?

 

[Michael Glynn]

When using the mic in foam/towel in the tailpiece method, an omni will sound a lot better, as it lacks the monstrous proximity boost - which can be as much as 12dB and is most always centered very near 200Hz.

I haven't noticed a huge problem with proximity effect, at least no worse than other close miking techniques. Perhaps because the mic is facing parallel to the body of the bass, rather than facing directly at it. In any case, I usually use a high pass filter. I don't doubt that an omni could work well in this application. Also, directional mics with less than impressive low end response on paper can work well because of the proximity effect.

OK, my initial reaction is that condensers tend to breathe better than dynamics, but a dynamic would be easier if it does the job, and avoids the need for phantom power.

SM58 wouldn't have been my first choice due to the frequency response being tuned for vox, and I don't own one (tho I do own a couple of Behringer clones). The ATM25 has been discontinued and it's replacement appears to be quite a different mic. I do own a Shure Beta52...any comments on how that would work?

I have a BOSS eq pedal....what is the advantage of parametric. Any specific model you would suggest?

I think condensers sound better on average for bass, but I have often had better luck with avoiding feedback and rejecting stage noise using dynamics.

It's too bad that the ATM25 has been discontinued, because everybody seems to like it more than the current offerings (ATM250 and Pro25). I have also used several other mics in this way including an Audix F2 (pretty inexpensive, a little less low end than the ATM25), and an old Electro-Voice RE15 (Sounds great, but low-gain and something is rattling in the mic body now).

I would say to try out the mics you have before buying anything else. You never know, maybe the cheap Behringer will sound great. You can try the Beta 52, but my concerns with that would be the large size and weight (will it even fit under the tailpiece?) and the very strongly tailored frequency response.

The main benefit I get from a parametric eq for live use is the ability to attenuate individual boomy notes. So I really use mine as a multiband notch filter, though it could be more than that. I'm using a Presonus EQ3B, which, like all useful products, seems to have been discontinued. You can still find used ones sometimes.

 

[Macher]

I use a BETA 57 placed under the bridge facing the top with the end appearing in between the strings. I do that with a rubberband and a bit of foam. Sounds good, but most soudmen think it has not enough of bass to be used alone so they blend with it my pickup. (in smaller venues i send the mic to the board and the pickup to the amp behind me)

C Fitzgerald did a post about this a few years ago comparing dynamic mics.

This works but i havent tried any clip-on.. i'd be curious to compare.

 

[Ed Fuqua]

I keep posting this, sorry for the redundancy. But I like my Sennheisser MD409....
http://www.coutant.org/md409u3/index.html

 

[Jay Corwin]

I'm late to the party, but here is my fancy mounting for my pro 35.

$2 spring clamp, some weather stripping, zip ties, and Velcro. Probably about 10 bucks at the hardware store. I cut out the center of the foam to hold the power module for the mic.

 

[jazzbassman2012]

I've got AMT SP25B mic for sale if anyone interested. Based in the UK.

 

[The Spanier]

Hi all!

I bought the H-Clamp from exploraudio instead one of those (expensive) little clip mics. I think it gives me the chance to try different mics until I reach the sound I am looking for.
I´ve been testing and trying different mics and positions. I guess I need any kind of omnidirectional mic, in such a way I am able to catch not only the (deep) sound coming out of the top of the bass, but also these additional trebles coming out of the fingerboard.

Last week a friend of mine forgot a mic at home. It was a “Behringer ECM8000” condenser omni mic, and I decided to give it a try as well. It is a cheap ($50) measurement microphone, so it would not be recommended for recording or amplifying purposes.

COULD SOMEONE EXPLAIN ME THE REASON WHY IT SOUNDED JUST SO COOL???? HERE THE SPECS:

• Ultra-linear condenser microphone for measurement and recording application
• Perfectly suited for room equalization application plus high-resolution studio recording and live applications
• Exceptionally flat frequency response and ultra-high sound resolution
• Evenly weighted, true omnidirectional pattern
• Works with phantom power from +15 to +48 V
• Perfect for use with the BEHRINGER ULTRACURVE or any other analyzer
• Ultra-low noise transformerless FET input eliminates low-frequency distortion
• Gold-plated 3-pin XLR connector for highest signal integrity
• Swivel stand mount and transport case included
• High-quality components and exceptionally rugged construction ensure long life
• Conceived and designed by BEHRINGER Germany
• The ECM8000's ruler-flat frequency response from 15 Hz to 20 kHz and omnidirectional polar pattern give you a clear, accurate reading of any room's unique sound characteristics. Like standard condenser mics used for recording or performance, the ECM8000 is phantom powered, from +15 V to +48 V. We've even included a rugged carrying case, microphone clip and stand adapter to ensure smooth operation every time.


I´m taking serious to buy one!!!

 

[The Spanier]

This is the Mic...

 

[wilsonn]

COULD SOMEONE EXPLAIN ME THE REASON WHY IT SOUNDED JUST SO COOL????
I´m taking serious to buy one!!!

Hard to know if it will work as well in a setting with a band. The omnidirectional pattern might work in a controlled setting, but when you play out with other musicians, especially drums, things get unpredictable.