Yes. I believe a long-ribbon mic needs some distance to behave properly.
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Double Bass Troll Ribbon Mic
- Thread starter flatback
- Start date
if i were going that route i would def give this one a try. check the more durable ribbon design
www.alderaudio.com
ALDER AUDIO Ribbon mics
ALDER AUDIO is a startup launching with our H44 ribbon mic design. We are a company bent on offering a fantastic and affordable product and we invest little in marketing and polish. Our innovative H44 comes out of an uncompromising attitude toward high quality audio combined with a streamlined...
www.alderaudio.com
I talked to nohypeaudio and they don`t advice their microphones for upright in close micing.
My point is to find a ribbon mic to be placed between the bridge and the soundboard and I am still open for it.
Would someone sell a Troll Ribbon then I would be open to hear.
I am not in a position to buy an expensive microphone as I do it just for fun
My point is to find a ribbon mic to be placed between the bridge and the soundboard and I am still open for it.
Would someone sell a Troll Ribbon then I would be open to hear.
I am not in a position to buy an expensive microphone as I do it just for fun
Experience using the Line Audio CM3’s and CM4’s that they are excellint microphones for Double Bass. I generally place one
right in front of the bridge on a stand. The results IME are stellar. For live performance I use a Remic 5400 LB (Green). They have often
come up for sale used in the TB classified. They can be mounted and removed in mere seconds. Just my take of course. Ribbon mics are
beautiful in a studio setting. They are a considerable investment.
right in front of the bridge on a stand. The results IME are stellar. For live performance I use a Remic 5400 LB (Green). They have often
come up for sale used in the TB classified. They can be mounted and removed in mere seconds. Just my take of course. Ribbon mics are
beautiful in a studio setting. They are a considerable investment.
Line Audio CM4 is one I`d like to try but I am tempted to try a ribbon mic between bridge and soundboard be it live or studio
My only experience was with a Octava Ribbon in the studio, it was lovely but finiky and large. Getting it into position
was tricky at best.
was tricky at best.
Why?
I like ribbon mics a lot. I own almost a dozen of them! But:
All directional microphones - and ribbon microphones are inherently directional - exhibit the proximity effect, emphasizing low frequencies at small distance. When you add to that disadvantage the low output, heavy weight, large size, and relative fragility, it's hard to make a case for attaching them to a double bass.
I play live with a Line Audio CM4 quite often. I used one this past weekend mounted between the string afterlengths, pointing between the bridge feet and slightly toward the G side F hole. This was in a string band trio performing outside. When recording, I'll use a stand with the CM4 pointed at the bridge about 4 inches away.
The Troll Ribbon came out before most of the current "mini" bass microphones were available. At the time the only
other DB mounted microphones were the ATM Condenser and the DPA 4099B (the Dvote was total re-design of that microphone).
Since then we have, the Remic DB 5400 Red and 5400 LB Green, and Remic Reshape, the Nadine, the Xlson, and The Neumann MCM 114.
Just my take of course but if I were looking for a combo live performance and recording microphone I'd look among these choices.
other DB mounted microphones were the ATM Condenser and the DPA 4099B (the Dvote was total re-design of that microphone).
Since then we have, the Remic DB 5400 Red and 5400 LB Green, and Remic Reshape, the Nadine, the Xlson, and The Neumann MCM 114.
Just my take of course but if I were looking for a combo live performance and recording microphone I'd look among these choices.
Do you have experience with the Remic? I've been thinking of purchasing one for recording arco.
The thing about the Troll was how decent the sound was for the price and the convenience of leaving it on the bass. I still have one though I don't use it that often these days. When my bass wore gut strings the Troll was my go to for about 3 years.
I see. So you guys are basically saying the troll is an "obsolete" microphone.
I`ll stick to the plan of the Line Audio CM4 but a little OT has anyone tried the OM1 with double bass (specially placing it between the soundboard and the bridge?
I`ll stick to the plan of the Line Audio CM4 but a little OT has anyone tried the OM1 with double bass (specially placing it between the soundboard and the bridge?
No, I haven‘t, but the Omnis like the OM1 have no proximity effect but also no back rejection.
The CM3/4 are wide cardioids, something between an Omni and a normal cardioid (that has maximum back rejection).
So the difference would be rather small.
Experimenting with different characteristics on an Octava MK012 small diaphragm condenser, the Omni has the best sound but is unusable for amplification, the cardioid had the worst sound and the hypercardioid (between cardioid and figure of eight) has a very useable sound not far from the Omni and could be used for amplification. But the proximity effect is rather strong (strongest with fig. of eight).
BTW, the Troll and (almost?) any other ribbon mic has the fig. of eight characteristic with the maximum
proximity effect.
The CM3/4 are wide cardioids, something between an Omni and a normal cardioid (that has maximum back rejection).
So the difference would be rather small.
Experimenting with different characteristics on an Octava MK012 small diaphragm condenser, the Omni has the best sound but is unusable for amplification, the cardioid had the worst sound and the hypercardioid (between cardioid and figure of eight) has a very useable sound not far from the Omni and could be used for amplification. But the proximity effect is rather strong (strongest with fig. of eight).
BTW, the Troll and (almost?) any other ribbon mic has the fig. of eight characteristic with the maximum
proximity effect.
That's right, but Beyerdynamic has made several short-ribbon hypercardiod mics for quite a while. They're good mics, but I still wouldn't use them for close-miking a bass.
I've got two. A Red and a Green. They're pretty fantastic IMO (full disclosure for transparency, I'm also a Remic endorsed artist). I've used the Green for small group gigs and it sounds really nice. The Red sounds super super nice for solo work and recording. If you're interested, I definitely recommend you check out the polarity patterns of each and factor that into how you'll be using it.
I've also used the ribbon mic (very similar to the Troll) for gigs. I liked the ribbon, it actually worked better than you would expect it to in a low to moderate volume gig. My only real complaint (other than being careful with the ribbon itself) was that when I moved around too much it would shift a little and knock the body of the bass and that noise transmitted to the amplified pathway pretty easily. Nowadays I use it as a recording mic and sometimes I'll bring it to a gig for a grand piano on stage (sounds really great).
Both the Remic’s are exceptional microphones the Red is a very sensitive microphone great for arco if you’re doing concerts, recordings, or lower volume gigs. The Green has much better of axis rejection and noise canceling. They are offering a new Remic Reshape with switchable mounts and capsules with a 30 day trial and discount.
