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Double Bass REMIC Red and FELIX

#21
The Remic sounds very promising. I have a couple of questions though.
Can you use this with larger groups such as standard size 4-5 piece jazz groups with drummers .?
And can you talk about this Mic in comparison to th Troll. In regards to the feedback etc. I have been through AMT,DPA and currently using the Troll. I have found it is the best as the most useful in everyday application. Meaning delivering decent sound with less feedback. Must say I almost always mix with the lifeline.
 
#22
yeah well you know the routine, the Remic claims to have a high threshold before feedback but I think the DPA edges it a little. I haven't used the troll in some time...I loved it when I was borrowing it, but somehow never ended up buying one. THe Remic has this big fat open sound (I think because it is a directed omni) and it does pickup other sounds but when the bass is louder it picks up that and it is good for delivering the warmth. I use it exclusively for duos, but mix in the Stat B as it gets louder, But I always manage to have enough Remic in the mix to make a difference in getting that wonderful mic sound.

On another note, the Remic and the H clamp were just made for each other. There is a hole in the foam of the Remic and putting the rod of the H clamp in there means you can put the thing where ever you want. It rocks. I'll post a picture.
 
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#23
Remic in an Ideal spot with the H clamp holding it in place. Sweet.
 

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#24
I've had both Remic's for most of a year now and every time I get out the Green one 5700LB (the one that favors its contact element rather then the air mic element and has a tremendous amount more feedback resistance volume and less bleed) I hate it: big uncontrolled woofyness, too much contact sound, weird (as was instantly pointed out in the first threads by listeners here at TB) mid range attenuation (in the wrong direction boosted mids)...I package it right back up again and think to myself that I'll sell it, there has to be some rock and roller or slapper or someone who wants a loud mic sound and can deal with the weirdness....
BUT BUT the other day I got it out and kabobed it onto the H clamp and like a doctor with a stethoscope I went around the bass trying to find a spot that sounds good. Well it turns out that the good spots (only one or two) are the same as for other contact mics (directly above the Bass Bar or directly above the sound post...really on nodal points that don't have the uncontrolled vibration)
But I have been using the Red sometimes just wedged into the F hole (amazingly and unlike any other mic I have ever tried this with directly into the F hole gets you a really big body sound without feedback)
Anyway there turns out to be on my Contrabassetto one other (so far) place for the Green mic: way over on the other side of the F hole near the edge.
The weird sounds coming out of this contact mic are contact sounds: the problem has always been that without the H clamp you are limited to wedge points under the tailpiece or fingerboard. But with the H clamp ANY part of the top is viable and it turns out that it can sound really pretty good (especially mixed with a pickup) and it can get crazy loud. I haven't gigged it yet but I am about to. I think that this mic system should be coupled with the H clamp....of course you could by a cheap bass for what the pair cost....
 
#25
flatback said:
I saw the Wayne Shorter Quartet last night. Great Music. Brian Blade was unreal. JP used the Felix and 4099 thru his amp. He had a really excellent sound. very clear and present. The sound guy at the Jazz Center knows enough to keep the stage volume and only add a bit to the room so mostly it was an acoustic set (little FOH support). JPs sound came mostly thru his amp and the Felix. The mic adds so much liveness, especially in the arco passages but really the whole time.
....I think the Remic has a way warmer more realistic and less brittle sound then the 4099.
Click to expand...

Sorry for late addition to the thread but do you remember what amp JP was using ? And speakers.
 
#28
flatback said:
It was an Aguilar...so was the cab.
.
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Yeah, he's apparently got an endorsement deal with them. Seems funny that he's essentially using an Aguilar DB 751 as a power amp, since the Felix is handiling all the heavy lifting. If that's the way he has it configured. However, It does give him a redundant preamp if the Felix got damaged.

Ric
 
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#29
Ric Vice said:
Yeah, he's apparently got an endorsement deal with them. Seems funny that he's essentially using an Aguilar DB 751 as a power amp, since the Felix is handiling all the heavy lifting. If that's the way h has it configured. However, It does give him a redundant preamp if the Felix got damaged.

Ric
Click to expand...
P

He'll just checked that amp out thinking it may be a cheap option for a planned Felix chain. How wrong was I damn there expensive ! So how much more power and better are these than a 500 tone hammer ?
From our discussions about the monique m700 etc do you think this would get close sound wise ?
 
#30
Basstimg said:
P

He'll just checked that amp out thinking it may be a cheap option for a planned Felix chain. How wrong was I damn there expensive ! So how much more power and better are these than a 500 tone hammer ?
From our discussions about the monique m700 etc do you think this would get close sound wise ?
Click to expand...

Bass Tim G,
Well, I have only demoed the Aguilar Tone Hammer 500, but some DB players like them. The Aguilar DB 751 is a very different amp. It's a tube preamp with a solidstate analog power amp. So, the two amps are quite different in design. You'd be wise to try a Tonehammer 500 and see what you think. The M700 is a uniquely musical power amp.

It's likely John uses the Aguilar DB 751 because he endorses the product, it's built like a tank, and since it's a more traditional amplifier, easier to service.

Sorry for the derail folks.

Ric
 
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#31
i dont know what he was using when you saw him, but typically, if its an upright gig john will use the tone hammer 350 into an aguilar 12 inch cab on a chair with the mic going to the house and some pickup in the bass amp. if its a particularly quiet drummer, like brian blade, he'll use only mic through amp and house. if he's doubling or playing only electric then he brings out the big aguilar amp head and a 4x10 cabinet. one thing i notice, with the 4x10 he almost always sits it on top of its empty road case. i wonder if that hollow chamber underneath affects the sound.
 
#32
shwashwa said:
i dont know what he was using when you saw him, but typically, if its an upright gig john will use the tone hammer 350 into an aguilar 12 inch cab on a chair with the mic going to the house and some pickup in the bass amp. if its a particularly quiet drummer, like brian blade, he'll use only mic through amp and house. if he's doubling or playing only electric then he brings out the big aguilar amp head and a 4x10 cabinet. one thing i notice, with the 4x10 he almost always sits it on top of its empty road case. i wonder if that hollow chamber underneath affects the sound.
Click to expand...

Oddly enough, I used to set my vintage Ampeg-15N, atop a wooden balistics box, that was originally designed to hold millitary ordinance. It too was hollow. I liked the sound of that combination. John now has a Grace Designs Felix. I wonder if he runs it into the effects return on the Aguilar?

Ric
 
#37
one of the truly great design principles of this mic is the foam surround and the cotton cord. It makes for a silent and minimal but extremely hi fidelity microphone. I love it and as to the expense of the Grace/Remic setup it is worth every penny .
 
#40
flatback said:
one of the truly great design principles of this mic is the foam surround and the cotton cord. It makes for a silent and minimal but extremely hi fidelity microphone. I love it and as to the expense of the Grace/Remic setup it is worth every penny .
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Agreed 110%. I have hated piezos for a very long time. The Felix makes a piezo shine. I don't know how or why. Mixed with the Remic and you have gold. I have this yearly gig at REI here in Alaska. It's an employee Festivus party for REI, one of the local breweries, and a cafe just down from REI. We've done it for 6 or 7 years now. Anyhow, it was just last night and my bass sound was just glorious. I'm a pretty hardcore MBOL guy, and mixed with a MAS powered 16 it was exactly what I constantly strive for. Space filling, natural double bass dripping goodness. Pure and true. I didn't even pull out the other 16 from the car. If you have the shekels and you're going for an honest sound, just do it. You'll never look back.
 
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