Bob,
That’s a very cogent point. I do remember that the I was under the impression (judging it’s size from their pictures) that the Remic DB 5400 was much larger than it
actually is. One things certain, they got the sound profile right.
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 New Remic D540
- Thread starter Adam Booker
- Start date
Bob,
That’s a very cogent point. I do remember that the I was under the impression (judging it’s size from their pictures) that the Remic DB 5400 was much larger than it
actually is. One things certain, they got the sound profile right.
Thanks for all the very good info here... I am seriously considering purchasing a D540 but I am in doubt about how useable it is in my situation.
Currently my setup is :
Old German Bass-> DPA + FWF-MB1 pickup -> Felix -> QSC on a tripod
I play standard jazz in a quartet (drums, piano, vocals, bass) and the drummer is not a loud player.
Mostly play in bars and I am doing some home-studio recording (all instruments in one take, so pretty similar to a live invironment)
I would like to improve my sound (MBOL) and thinking about upgrading (to D540 or Remic Red or Green or both or XLSON or...)
I love the sound of the XLSON but like how easy it looks to mount the Remic and would prefer not to work with an clamp.
I really like the sound of the D540 and the Red but I am not sure how useable it is in live situations. Could somebody compare this to the DPA ? With the DPA I can get a useable sound without suffering to much bleed (except for the occasional jam session where I had to play to close to the ride cymbal of a a loud drummer). If the D540 (or Red) is better or as good as the DPA (for bleed) I think I will purchase it.
All feedback really welcome
Currently my setup is :
Old German Bass-> DPA + FWF-MB1 pickup -> Felix -> QSC on a tripod
I play standard jazz in a quartet (drums, piano, vocals, bass) and the drummer is not a loud player.
Mostly play in bars and I am doing some home-studio recording (all instruments in one take, so pretty similar to a live invironment)
I would like to improve my sound (MBOL) and thinking about upgrading (to D540 or Remic Red or Green or both or XLSON or...)
I love the sound of the XLSON but like how easy it looks to mount the Remic and would prefer not to work with an clamp.
I really like the sound of the D540 and the Red but I am not sure how useable it is in live situations. Could somebody compare this to the DPA ? With the DPA I can get a useable sound without suffering to much bleed (except for the occasional jam session where I had to play to close to the ride cymbal of a a loud drummer). If the D540 (or Red) is better or as good as the DPA (for bleed) I think I will purchase it.
All feedback really welcome
Here you can find an elaborated comparison between the two mics... "unfortunately" it's written in German...
I use the Remic Red with a Felix and I'm totally happy with the sound in not to loud environments..
if it get's "too" loud, I use my Ehrlund PU or a combination of the Remic and the Ehrlund. I like the Remic sounding "more natural" and the use being easier compared to the DPA, but I have to confess, that I checked out the DPA not sooo extensive.... but the Remic is really a good microphone! Compared to my Brauner Phantom it sounds almost as good as it... on my basses...
Last edited:
Here you can find an elaborated comparison between the two mics... "unfortunately" it's written in German...
Thanks for this valuable feedback, I will read the German comparison (my German is not very good but I should get the main messages) !!
I have used the DPA,and have used both Red and Green Remic's. the Green is the winner,why-less feedback, more live group friendly (drums,horns) etc, and more compatible with a standard bass amp.DPA and Remic Red may sound better, but for overall use, I go with the Remic Green.....just one man's opinion...
Have stuck with this setup, day in and day out for for 2 years now. I mix with Life-Line,or FC,depending on bass through the Grace Felix.
Have stuck with this setup, day in and day out for for 2 years now. I mix with Life-Line,or FC,depending on bass through the Grace Felix.
Hello Irhbass, thanks for the feedback !!
Seems you have a lot of experience with both the Red and the DPA. Can you tell me if the Red is better or worse than the DPA for feedback and bleed.
I can get the DPA to work in my situation but really like the sound of the Red, so if it is equal (or better) than the DPA I will probably order the new 540.
Seems you have a lot of experience with both the Red and the DPA. Can you tell me if the Red is better or worse than the DPA for feedback and bleed.
I can get the DPA to work in my situation but really like the sound of the Red, so if it is equal (or better) than the DPA I will probably order the new 540.
Just to chime in here, in my experience the DPA 4099 is better at feedback control and off axis rejection so it’s better suited for live performance. The Remic Red
has wonderful detail and warmth but will feedback and pickup the other instruments onstage. The Remic Green is their live performance mic and it works well but the red
sounds better. Based on the sound of Adams demo the white is a nice blend of the two.
Last edited:
Thanks for your feedback, based an all this info I have just ordered the Remic White... will let you know how this works out (if I ever get to play live again)
(..12 left) I have the green and the white. I have had no chance to try the white live - yet.
The remic green works well live because it has that woody 'forward' sound. Not most peoples cup of tea for recording.
The white is very different to the green to my ears. It has warmth and fullness. It is just great for recording - so easy to set up, plenty of signal and produces consistent results which need very little, if any, adjustment 'in post'. My acoustic trio friends also just love it in comparison to previous takes recorded with stand or bass mounted condensers. (AT2020USB+, Audix M1250)
I think the white will need some eq when I get to try it live - mainly to bring it forward / give it more presence when mixed with gypsy guitars and clarinet (no drums).
Bart, look around for a means of storing and transporting the remic white. I am using an old pouch from an electric shaver. Maybe a large sunglasses case would do it.
The remic green works well live because it has that woody 'forward' sound. Not most peoples cup of tea for recording.
The white is very different to the green to my ears. It has warmth and fullness. It is just great for recording - so easy to set up, plenty of signal and produces consistent results which need very little, if any, adjustment 'in post'. My acoustic trio friends also just love it in comparison to previous takes recorded with stand or bass mounted condensers. (AT2020USB+, Audix M1250)
I think the white will need some eq when I get to try it live - mainly to bring it forward / give it more presence when mixed with gypsy guitars and clarinet (no drums).
Bart, look around for a means of storing and transporting the remic white. I am using an old pouch from an electric shaver. Maybe a large sunglasses case would do it.
- May 3, 2007
- 1,468
- 1,156
- Disclosures
- Endorsing Artist: D'Addario Strings, Remic Microphones
I think the green can hold its own, though.
Very tasty. That's a tone I would be happy with.
I notice the remic is mounted under the tailpiece, and a long way down - that bridge must be a lot taller than mine. I place my remic green under the bridge, towards the E side. With the remic white it does not seem to make as much difference where it sits.
I notice the remic is mounted under the tailpiece, and a long way down - that bridge must be a lot taller than mine. I place my remic green under the bridge, towards the E side. With the remic white it does not seem to make as much difference where it sits.
Although, you could in practice, place the Remic anywhere you wished, the mike works best for me mounted on the tailpiece and pointed upward vs under the
fingerboard pointed downward. Which, by the way is how the back of the Remic case shows it. I’ll have to try it inside the bridge, but it will vibrate more in that
position.
Bumping this thread, has anyone had more live experience with this new mic? Interested in the mics live tone and the bleed factor since I play often times with loud-ish drummers... Thanks!
- May 3, 2007
- 1,468
- 1,156
- Disclosures
- Endorsing Artist: D'Addario Strings, Remic Microphones
You mean, like a live gig? With other musicians and people around? It’s been so long. I hardly remember what that’s like.
Ha, yes, sorry, we have been having a good amount of outside live gigs up here in northern NH, but I sometimes forget that even down the road on the seacoast of NH the musicians are dying for gigs, sorry about that! I'm back to one or two a week right now, and just played a couple of singer/songwriter gigs where I loathed my pickup-only sound, a small bother considering the circumstances!
Not me.
But the Ischell is a contact mic, which means that it reacts on vibration of the mic body, whereas the Remic is an air mic that reacts on vibration of air pressure.
Air mics are rather sensitive to higher frequencies and pic up everything that reaches it via air. That means a lot of cymbals in it when you are not too far away from a drummer.
Contact mics are mostly sensitive to the body they are attached to. So it depends where your top is directed at (and you might be able to influence it by turning the bass). Also bleed from other sources that is transferred via air sounds rather dark, since a lot of higher frequency content is reflected by the top.
I use a mic for mostly acoustic groups, where only a few instruments are amplified for FOH.
If it might get a bit louder (drummer, bigger groups with a lot of wind/brass) it might make sense to send mic and contact mic/pickup to FOH and only use the contact mic/pickup for your amp.
I did use an Oktava MK-012 (SDC) through the underlength, an Audio-Technika ATM-35 (Electret), an Ehrlund EAP (piezo foil contact mic) and a AKG C411 (electret contact mic).
I also used bridge wing, bridge foot and adjuster pickups, but that’s not the point here.
The AKG C411 works similarly to the Ischell. I like it a bit better than the Ehrlund for sound (more highs), but if it gets louder it might feedback earlier than the Ehrlund and/or at a higher frequency.
Nothing beats a good air mic for sound (except a better one), but the problems of sound separation and feedback often don’t make them an option. There should at least be a fallback option immediately available if an air mic is used live.
I have used the Ischell and both Remics by themselves and mixed with pickups. I do lots of live gigs...just played the Healdsburg hotel last night (outdoor)...I hooked up the Remic green yesterday afternoon to see if I wanted to revisit it in my setup and honestly it adds that nice air (the Red is WAY more realistic and open) but I keep coming back to FOH only for mics. Either the Wilson or Yamahiko into the Sarno V8 and MAS speaker sounds pretty damn close to having a mic but without any of the headache.
The green can sound really good mixed with a pickup(I don't get enough solid direct signal to use it on it's own) but does not add enough that the drawbacks (complicated set up, bleed, feedback etc) outweigh the benefits thru an amp. I like both of them very much though and if I were playing every night in clubs with FOH I would bring one always, but I only play those clubs occasionally...
The Ischell is a damn good option that can be used really well by itself. When I had a big bass (7/8 Tyrol) it sounded great on it's own.
Yesterday I recorded myself playing with the Remic green mixed in and listened back and I dig it: just enough grit (fingerboard noise)and harmonic richness and a slight diffusion to the sound that sits really well, but I am super attached to the simplicity and full sound and damn close approximation of a piezo into a tube preamp to want to bring all that gear anymore.
The green can sound really good mixed with a pickup(I don't get enough solid direct signal to use it on it's own) but does not add enough that the drawbacks (complicated set up, bleed, feedback etc) outweigh the benefits thru an amp. I like both of them very much though and if I were playing every night in clubs with FOH I would bring one always, but I only play those clubs occasionally...
The Ischell is a damn good option that can be used really well by itself. When I had a big bass (7/8 Tyrol) it sounded great on it's own.
Yesterday I recorded myself playing with the Remic green mixed in and listened back and I dig it: just enough grit (fingerboard noise)and harmonic richness and a slight diffusion to the sound that sits really well, but I am super attached to the simplicity and full sound and damn close approximation of a piezo into a tube preamp to want to bring all that gear anymore.
Here are a few recordings from my junior "recital" that I did with this mic. I think the mic was in the bridge firing up, but it might have been firing down in some of the recordings. The buzzing in some of the tracks is my endpin tip, which I haven't figured out how to fix.
Junior Recital - Thomas Owens - Google Drive
Junior Recital - Thomas Owens - Google Drive
