Double Bass Robert Hurst amplification: 1 or 2 (ribbon) mics?

[Frits]

Some kind of (ribbon?) mic held in place with elastic rubbers, but what is the foam in the sound hole: a second mic? Seems like wired to me, so more than just foam used as feedback control, I'd say. E.g. view at around 20:50. Very nice sound!

 

[31HZ]

2 mics together would be very likely to cause noticeable phase issues.

 

[Jay Corwin]

I have a small electret style condenser mic that I mount in the F-hole with a piece of foam exactly like that.

 

[Earl]

The mic in the bridge is the one the Bimhuis uses on every bass. Great mic but I forget the name. Not sure about the other one.

 

[dylanjohnson]

This is bimhaus’ house bass and mic. I think it’s been discussed before here.

 

[dylanjohnson]

The mic in the bridge is the one the Bimhuis uses on every bass. Great mic but I forget the name. Not sure about the other one.

You beat me to it!

 

[John Chambliss]

Here’s the thread
Housemic

 

[BassChap]

Now the riddle has been solved, let's say something about the Bimhuis. An American jazz celeb, I think it was Branford Marsalis, said once: if you are in Amsterdam and have the evening free, you can just go to the Bimhuis without checking the program and experience high quality live jazz.
Remember this if you visit (or live) here.

 

[winston]

Don't want to poke the bear here, but:
If Hurst is still mic-only, have folks been able to hear him distinctly in a larger venue?

When I saw him mid-'90s in a theater with Branford Marsalis, his hand motions looked very impressive...but the only time I could actually hear him was when the other musicians dropped out for a bass solo!

I know sound tech has progressed since then, but in the '90s I could hear pickup users like Gary Peacock & Chris Wood just fine regardless of the venue.

 

[Ric Vice]

That was for the path many if not all the “acolytes” of Marsalis” at the time. Most of them no longer pursue that path, opting for the benefits of an additional pickup. It’s nice to be able to actually hear what they’re playing. Microphones from DPA, Remic, Neumann, and Ear Trumpet Labs have really upped the game. Just my take. Unfortunately, Bob Hurst, Christian McBride and a few others were were vigorous “encouraged” to go mic only when the microphones, with the possible exception of Schoeps hadn’t arrived on the scene yet. Once again just my take.

 

[Earl]

Don't want to poke the bear here, but:
If Hurst is still mic-only, have folks been able to hear him distinctly in a larger venue?

When I saw him mid-'90s in a theater with Branford Marsalis, his hand motions looked very impressive...but the only time I could actually hear him was when the other musicians dropped out for a bass solo!

I know sound tech has progressed since then, but in the '90s I could hear pickup users like Gary Peacock & Chris Wood just fine regardless of the venue.

I am pretty sure he uses a Realist on his own bass.

 

[lurk]

The guy who really makes the mic on a stick work is John Clayton. Of course he plays with great musicians in great venues. I always thought that in most cases the unamplified bass thing was a little specious. I remember when Christian M was a new sensation and was widely and rapturously acclaimed for playing acoustically I went to hear him at the Vanguard and he had no amp, but did have a very expensive mic pointed right at his bridge and was going through the house's large speakers, using more watts and square inches of speaker than any bass amp would provide.

 

[Ric Vice]

The guy who really makes the mic on a stick work is John Clayton. Of course he plays with great musicians in great venues. I always thought that in most cases the unamplified bass thing was a little specious. I remember when Christian M was a new sensation and was widely and rapturously acclaimed for playing acoustically I went to hear him at the Vanguard and he had no amp, but did have a very expensive mic pointed right at his bridge and was going through the house's large speakers, using more watts and square inches of speaker than any bass amp would provide.

There's an interesting story that one of John's students passed on to me about John completely giving up amps early in his illustrious career.
When he recorded one of his first albums with Monte Alexander live the engineer took a line from his Ampeg B-15 to record the show. To John's ears
it sounded flat and lifeless. So, basically from that moment on he stopped using amps. He's really one a select group of bassists who really understand conceptually how to work with a microphone. Larry Grenadier is also mastered the art of mic only among others. Christian McBride and Robert Hurst certainly understand how to do it as well. When last I heard Christian live he was using a AMT Condenser and a pickup. Which was a real step up from the Electrovoice RE 20 he used the first time I heard him. We're now at a time when bass mic technology is really great. The tone pallet afforded from a
microphone like the Remic that I use is just lovely. But as a "jobbing" bassist a rarely have an opportunity to use it. I've found the Ehrlund EAP and a RedEye Twin to really work in even the most difficult settings. Just my take however. I guess the bottom line is anything can work it you have the time and temperament to use it.

 

[Ric Vice]