Strugglesville - too many variables

Many of us have found that a piezo just doesn't do MBOL. Mics do. Lots of mic options too.

Piezos almost always sound electric but tend to produce less feedback in loud situations. Mics typically sound natural, but are prone to feedback unless the volume is sensitively controlled.

A few of us have both a piezo system and a mic installed, and simply select the right one for the current situation.

Really, either way, it's a rabbit hole.

 

It seems to me your speakers, amp, and preamp are all fine for what you're wanting to do. My suggestion is to get one or the other of those two inputs happening in a reliable way... and/or replace if necessary.

FWIW... I've been chasing that tail for quite while (~15yrs) as well and have ended up mostly where I started...
Gage Realist straight into an Acoustic Image Clarus (SL) into a nice, older 2 way 12" speaker (Audio Kinesis TC112.) I'm really happy with the result and the journey definitely helped me learn what I needed to hear and how to EQ practically anything. I also keep a LR Baggs ParaDI around for emergencies.
I've finally ditched the mic into an amp option. If a venue or sound person wants to put a mic up for FOH, I'm all for it but I'm done bringing my own mics.

Good luck!!

 

With the Remic, perhaps try it under the bridge. That is my favourite spot on my bass. If it is not fitting snug enough, try sticking some felt patches under the bridge - (the ones you put under chair legs so they don't scratch the floor). I had to use two layers to get a snug fit.

 

Another ex-Schertler user here, just another brief stop on the pickup journey. I used it with a Walter Woods head and Bergantino 1-12 cab. As others noted, trouble getting it to stay put in the best spot after transporting the bass, feedback and EQ issues...it just wasn't working for me.

I switched first to a Realist and finally a Full Circle, using the same amp/cab as well as an AI Coda sIII combo. I live with the not-really-acoustic tone because I gig in electric bands where miking is simply not an option.

For me, getting the amp and speaker right is most important. Once I found a rig that worked well, then I could fine tune the pickup choice. Been using the WW/Bergantino for 20 years now, the AI for about 10. I suspect your amp rig is fine.

 

You don’t need the headway for impedance issue’s. The Schertler is not high impedance like a piezo and with the pre-amp that should be moot anyway. So the problem is probably in placement and pressure.
The headway can be noisy if the gain staging is just a bit off. If you set it at a low impedance and make sure the Schertler pre-amp delivers a strong enough signal the noise should go away. Did you check te battery of the Shertler pre?

 

Adam Booker will tell you that Remic's really weren't designed to go back to your amplifier and I agree with that, based on my own experience. Since I've
never used the Stat B, I think others have provided better advice than I could. It sounds like you're doing fine with just the Schertler. The one difference between out
setups is that I've always used the Headway EDB-1, EDB-2, and now the EDB-2 H.E. directly into a power amp or powered speaker. When I used the Walter Woods
with the Headway I sent it into the effects loop using only the power section. Just my take of course.

P.S. The Remic just has to stay in place, so like others have said you can put it under the fingerboard with the element pointed down, under the tailpiece with the element pointed up or in the arch of the bridge with the element pointed up.

 

I agree with Chris on this - I have a Full Circle on my DB and Realist Lifeline on my EUB - both sound just fine whether at soft volumes or really cranked.

 

I gave up on the mic thing too. It's just not practical in my gigging life. There are a couple of things to consider. One, you are never going to achieve the MBOL fantasy. There are great pickups out there - my current is the Lifeline - that players would have died for 50 years ago. Get one and learn to love the sound for what it is. Two, there are things that can get you closer to a mic sound if you want to spend your money and take your chances. I like my Tonedexter quite a bit. The Earlund pick up sounds very good on some people's basses, though I have never tried it. The Ischell contact mic can sound very nice, but I don't like the idea of sticking it on my bass, and people tell me it's finicky and if it's not perfectly attached prone to all the problems of a mic.

 

Shouldn't the Headway be able to power the Schertler?

 

I never had them at the same time but my recollection is the Shertler and Lifeline were more similar sounding that different. The Lifeline is probably more one dimensional but way easier.

 

I have bought 3 ischell mics, 2 realists, both schertlers (one sided and two sided for both holes in the bridge) and many many other pickups.

I ended up only liking the ischell and realist/full circle..

I do want to try the japanese full circle pickup (yamahiko)-

the end result of all my pickup journey's was the realist and ischell stick on mic which as long as you properly seal it and find that "sweet" spot about 1 inch under your bass foot side bridge foot, you are golden on the sound with the ischell.. (i may have to show a picture of it)

 

I agree with @ChrisFitzgerald about the overall usefulness of the Fishman Full Circle. Once it's installed, there's nothing to worry about, nothing extra to carry, and it sounds great.

 

I went ahead and spent the money for a Schoeps mic. It’s flawless. Handles full drum dynamics in a piano trio very well. I don’t need a piezo and this thing sounds great. If you don’t mind spending the money, you won’t be disappointed.

 

Which Schoeps? I see the CCM 4 is over $1800, minus the DB mounting bracket. Ouch...

 

Looking at the thread title and then your first post, I believe you properly diagnosed the issue.
Very few people will appreciate your effort to achieve MBOL and your effort and frustration in the pursuit may well negatively affect your playing.
My advice is to choose a pickup that sounds OK on your bass, adjust your amp to get a usable tone and play the gig. In a word, settle. Accept that basses were never meant to be amplified and find a solution that is acceptable and then concentrate on getting the best sound out of it that you can. Play the instrument as well as you can.
Most working bassists have enough to think about dealing with adjusting to different musicians, rooms, music, and of course their physical well being to worry about adding trouble.