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Double Bass Which mic you may pickup from those?

Which mic you may pickup from those?

  • Sennheiser e609

    Votes: 3 20.0%

  • Beyerdinamic Opus 99

    Votes: 0 0.0%

  • Beyerdinamic M 201 TG

    Votes: 0 0.0%

  • Beyerdinamic M 69 TG

    Votes: 0 0.0%

  • Shure Beta 57 A

    Votes: 4 26.7%

  • Audix D4

    Votes: 2 13.3%

  • Audix D2

    Votes: 5 33.3%

  • AKG D112

    Votes: 2 13.3%

  • Electro-Voice N/D 468

    Votes: 0 0.0%

  • Audio-Technika ATM-250

    Votes: 0 0.0%
  • Total voters
    15
#4
Barcza said:
The D2 has enough gain before feedback and has a good isolation?
Click to expand...

Good enough for my purposes. Used it in several quiet gigs miked close (1/8 in or so from top table), sounded great. Used it in a super loud outdoor festival type gig where the soundman pointed it at the g side f hole, about 4 inches away. Not where I would have put it. It sounded boomy as you might expect, but there were no feedback problems and no bleed that I was aware of. Almost too much gain.
 
#5
Barcza, are you thinking of running the mic into your amp?

When Jamie mentioned "outdoor festival" and "soundman," I immediately thought of using a PA. I think we're faced with different constraints when we try to run a mic into our amps however. I could be wrong about this, but I think feedback (the howling mic kind) is much less of a constraint if the mic is being piped into a PA with the mains out in front of you than it is running a mic into your amp that's typically behind you. So it's important to know which context we're talking about.
 
#6
MingusAmongUs said:
Good enough for my purposes. Used it in several quiet gigs miked close (1/8 in or so from top table), sounded great. Used it in a super loud outdoor festival type gig where the soundman pointed it at the g side f hole, about 4 inches away. Not where I would have put it. It sounded boomy as you might expect, but there were no feedback problems and no bleed that I was aware of. Almost too much gain.
Click to expand...


That seems the D2 pretty effective for normal jazz trio and quartett situation.
 
#7
bolo said:
Barcza, are you thinking of running the mic into your amp?

When Jamie mentioned "outdoor festival" and "soundman," I immediately thought of using a PA. I think we're faced with different constraints when we try to run a mic into our amps however. I could be wrong about this, but I think feedback (the howling mic kind) is much less of a constraint if the mic is being piped into a PA with the mains out in front of you than it is running a mic into your amp that's typically behind you. So it's important to know which context we're talking about.
Click to expand...

I'm affraid to use mic into an amp. I like to use mic into the PA and some time a little in the monitors in quiet situation, just front for louder situation and only pickup for crazy loud situation.
 
#8
Barcza said:
That seems the D2 pretty effective for normal jazz trio and quartett situation.
Click to expand...

I would bet on it.
Although I am not playing with drummers these days so that may throw a wrench in the works. Still, I think the isolation is pretty good. The closer you mic, the less problems with bleed.

And, as bolo said, this is with a PA. Amps can be tricky but should be ok if you aren't pointing the mic at the amp.

note:
I have been using the D2 in the [Invalid or Expired Link Removed]. It's a little more "mad scientist" than I usually like to get but it beats having to stand stock still in front of a mic on a stand, and the old 'sock in the tailpiece' trick doesn't always work so well for me.
 
#9
MingusAmongUs said:
note:
I have been using the D2 in the [Invalid or Expired Link Removed]. It's a little more "mad scientist" than I usually like to get but it beats having to stand stock still in front of a mic on a stand, and the old 'sock in the tailpiece' trick doesn't always work so well for me.
Click to expand...


This is the exact setup I use. I only run it to the PA. I played at a club in South Bend IN last weekend with a pretty nice sound system. D2+h-clamp into PA. The owner (who happens to be a bass player himself) was really impressed with my sound. I had a drummer playing pretty loud right next to me and had no problems. I did use an amp on stage but only as a monitor.
 
#10
MingusAmongUs said:
And, as bolo said, this is with a PA. Amps can be tricky but should be ok if you aren't pointing the mic at the amp.
Click to expand...
Just to clarify a little, I believe that the "mic to the PA only" route allows much more of your sound out in the house w/ much less chance of feedback. I mean the ringing, squealing, screeching kind of mic feedback, not the kind where the body of your bass resonates out of control on certain pitches.

I think that's because usually the PA mains are much bigger, and are designed to fill the room. And again the mains are usually in front of the mic (closer to the audience) and your amp is usually behind you and behind the mic. Perhaps it's an oversimplification, but I think it's a fact that to avoid feedback as a general rule you want to keep the speakers further forward toward the audience than the mic.

I can't really get used to putting my amp in front of me. So I just stand in front or to the side of my amp and deal w/ it the best I can. Get as big of an acoustic sound as possible, know the polar pattern of the mic, be conscious of your location relative to the speaker like Jamie said.
 
#15
I don't really know how noticeable the difference is between cardioid and hypercardioid. But the hypercardioid design does have some sensitivity to the rear typically, at least if Invalid Link Removed is accurate.
 
#16
Yes after that page I think the supercardioid seems olso intresting, but the cardioid could works too. Some of a very popular dynamic stage microphone like Electro Voice RE 20 and the Sennheiser MD 421 are cardioid, not super or hyper cardioid. I know you use Beyer M 88 TG. did you tried several mics before you went to this one?
 
#18
Barcza said:
Yes after that page I think the supercardioid seems olso intresting, but the cardioid could works too. Some of a very popular dynamic stage microphone like Electro Voice RE 20 and the Sennheiser MD 421 are cardioid, not super or hyper cardioid. I know you use Beyer M 88 TG. did you tried several mics before you went to this one?
Click to expand...
No Barcza I did not. I went with the Beyer based solely on a recommendation from someone who really seemed to have tried a good variety of different types of mics for DB, both condensor and dynamic, and both live and in the studio. The Beyer M 88 was and I think still is their favorite for live use. The only other mics I have tried are the K&K Golden Bullet and the AMT S25B.
 
#19
hdiddy said:
FWIW: John Clayton likes to use an RE20 on a short stand.
Click to expand...
Yeah I think there are quite a few working pros and several TB'ers (not mutually exclusive of course) that really dig the RE-20 too. I used one once in a radio station to do a live broadcast, but wasn't smart enough to get anybody to record it. :(

And I have always really, really dug John Clayton's playing and his tone. Righteous stuff. Great arranger and leader, and teacher too, IMO.

The RE-20 is 737 grams and plenty large, so it probably would not work too well with the H-clamp, for those mulling over that possibility.
 

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