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Double Bass Mounting a mic under the bridge (Neumann KM86i)

#21
Aaron said:
I'm still not exactly sure how the KM86 functions in order to get the different polar patterns, and why, even at close proximity, the lows are stronger in omni and figure-8 than cardioid. I guess I don't really need to know these things unless I'm designing a microphone, though.
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It's an interesting thing and it does defy the norm. I just found this page which offers some explanation, it seems they went to a lot of design trouble to make the cardioid pattern practically immune to the proximity effect, but in a totally different way than other mics do this (using either venting like an EV RE-20 "continuously variable-D" or EQ circuits to balance it out).

Neumann Model KM 86

It's over my pay grade, but the "crossed slit" as an alternative to conventional round holes in the backplate, and the greater than usual physical separation of the two capsules seem to be the unusual features that relate to this.
 
#22
The mother of all how-does-a-microphone-work threads started by TB's Chris Fitzgerald himself talking to a very heavy recording guru:

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Incidently, I do a lot of recording a recently picked up a pair of KM86's. They are back-to-back capules from the famous KM84. Sweet sounding mic.
 
#25
larry said:
The mother of all how-does-a-microphone-work threads started by TB's Chris Fitzgerald himself talking to a very heavy recording guru:

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.
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This is an AMAZING link.

It may have been started by Chris, but the info comes from a guy called Harvey Gerst, who has something of a resume from the 60s (Dylan, Jefferson Airplane, Hendrix, Joplin, Peter Paul and Mary) etc.

I am on page 14 of 97, and expecting to read all 97 pages more than once.

It links to various diagrams and URLs which are no longer there...shame but it's ten years old. Still, there's LOADS of value there.
 
#26
fingerbun said:
This is an AMAZING link.

It may have been started by Chris, but the info comes from a guy called Harvey Gerst, who has something of a resume from the 60s (Dylan, Jefferson Airplane, Hendrix, Joplin, Peter Paul and Mary) etc.

I am on page 14 of 97, and expecting to read all 97 pages more than once.

It links to various diagrams and URLs which are no longer there...shame but it's ten years old. Still, there's LOADS of value there.
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Harvey was fantastic in that thread. Ever since I read what he had to say, I never bothered with another recording technique book. Somewhere toward the end of the thread, there are several links to the thread as a big PDF file with many of the comments removed that don't add anything to the subject. Harvey was also very generous with his knowledge off board as well, and just about anything I know now about how to mic a bass, I got from him.
 
#28
Chris Fitzgerald said:
Harvey was fantastic in that thread. Ever since I read what he had to say, I never bothered with another recording technique book. Somewhere toward the end of the thread, there are several links to the thread as a big PDF file with many of the comments removed that don't add anything to the subject. Harvey was also very generous with his knowledge off board as well, and just about anything I know now about how to mic a bass, I got from him.
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That's good. I will definitely get that PDF.

I am just at the point where he throws to you for bass micing technique.
 
#29

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#34
The Neumann K86i is the microphone we use for most Air Force projects mic'ing the acoustic bass. We mount it in the bridge using foam that is used to insulate A/C lines. You can buy it at Lowe's, Home Depot etc. We tried a couple different options with this mic (H clamp, mic stand) and mounting it in the bridge worked best for us.
Here are a few cuts of the Falconaires playing and the bass mic is the K86i:




Overall I like this mic and it gets a sound that works well especially in dense settings like a big band. Picture of mic on bass:
199.jpg
 

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