timbass

I found the same problem with a mag pickup on its own - after lots of trials I settled for an AKG 411P condenser mic, mixing it with the mag signal please note this mic needs 48V phantom power. The mic sticks to the front of the db with magic putty. I moved mine around to get the best sound for me and settled on the middle of the upper bout under the fingerboard, where it picks up the overtones that make the db come alive. The mag pickup gives the "thump" and the mic the airy tones that a good sounding bass gives. I did try a Headway but settled on a Bose ToneMatch. To get over the multiple cable and plugs, I used hi quality multi-core co-ax and have one cable from the bass, fed down the back of the tailpiece and stuck to it with more magic putty. I used 2 XLR plugs and stuck them both side by side through a small piece of ply to keep them together in the right positions to plug into my mixer, as if being one plug. This all needed some careful soldering and wire stripping, especially the AKG cable which is ultra thin and hi-tech.

It does sound great in the video. I wonder about the mic mount positioning on the afterlength though. Is it chosen for convenience of mounting rather than for optimum sound? My experience of studio recording double bass is that mic placement is critical. For amplified live performance I use an [url="http://www.akg.com/pro/p/c411group"]AKG 411P[/url] and before I finally settled on a position to stick it onto the soundboard to complement the mag pickup I use, I moved it through several different positions and listened carefully before settling on the middle of the upper bout which seems to be where most of the overtones, fingerboard sounds and character of the double bass emanates from. I rely on the mag pickup for the deep bass and "thump". The set up works for arco as well, although my arco technique is at novice level. For me the soundboard under the afterlength was not a good place. The soundboard there is where most of the sound entering the Nadine mic will be from. I suspect the soundboard region under the afterlength suffers from confusing wave-fronts from the strings above it as the played length is varied. I often see afterlength dampers on violins, used to curb wolf notes, not often on double basses. BTW, I bet it reaches feed-back early in the gain settings, most mics, even directional ones, do. Is anyone else out there using an AKG 411P mic. It would be good to compare notes on position.

I tried J-Tone piezo and Schaller before I settled on a Kent Armstrong magnetic pickup and an AKP 411P contact condenser microphone, that needs 48v DC power. I sent Aaron Armstrong the fingerboard-end profile of my instrument and he made a pickup to fit exactly. I use two screws into the end grain of the fingerboard through the ready-made holes that Aaron put in the pickup. On its own the Kent Armstrong does make the instrument sound like a big bass guitar and gives good volume with no feedback problems. The AKG mic on its own brings out the woody sound and acoustic overtones but feedback is the problem, as with any microphone set up. Combining the two through a good mixer, I use a Bose ToneMatch, the sound is very natural and "round". I experimentally moved the AKG around to get the best of the acoustic sound but not bothering too much about the deep bass because the Kent Armstrong gives that in abundance. I ended up the the AKG stuck with its acoustic putty in the middle of the upper bout. Different stage setting demand slightly different settings, after two years of rehearsals and gigs with this set up I can't think of anything better for me.

Each to his own I suppose. It is definitely a tricky business amplifying a DB, but when it's right, to my ears it sounds much better than an EUB. They tend to sound like big bass guitars. I've used an AKG 411P contact microphone and a Kent Armstrong (custom made to fingerboard profile, thanks Aaron) magnetic pickup for about 18 months now. I mix them through a Bose Tonematch mixer (convenient 48v feed for the condenser mic). I like the sound, for me it is closer to the sound of an un-amplified instrument. I tried piezo pickups and 3 different pre-amps but despite lots of experimental work did not like the sound. Now I get less feedback than with the piezo setup and a fatter, rounder sound because of the mag pickup. Depending on the level of amplification and which PA is being used I sometimes have to use the notch filter to reduce a resonant frequency and to actually reduce the 40 - 100 Hz signal that can sometimes be overpowering and produce feedback transmitted through wooden stage floors and the end-pin.

Good quality wax, fine furniture polish for the body, used sparingly every month or two, buffed with micro-fibre cloth. Always wiping off any dust with a duster first, before polish application. Then duster occasionally between polishing as needed. [color=#282828][font=helvetica, arial, sans-serif]Dunlop 65 Ultimate Lemon Oil sprayed very lightly onto another [/font][/color]micro-fibre cloth[color=#282828][font=helvetica, arial, sans-serif] for wiping the finger-board, and strings. This every time I play or several times during a sweaty gig or rehearsal.[/font][/color]

Set up is important but not as important as you. I think that the player's technique makes much more difference to the DB sound than with bass guitar. It would be a good idea to get some lessons or at least spend some hours following [url="http://www.discoverdoublebass.com"]Geoff Chalmers'[/url] basic lessons on body, arm and finger positions. It is very easy to injure yourself or at least make it difficult to play for any length of time unless you get all this exactly right.

[color=#141823][font=helvetica, arial, sans-serif]Did anyone else who saw Rod Stewart's set in the Radio 2 Hyde Park gig notice his bassist Conrad Korsch? I think he's REALLY good.[/font][/color]

Many thanks lovely, kind basschat people, great advice. I understand the advice about Spirocore philparker, thanks for that, but because I mostly play pizzi, amplified and use a mag pickup (plus contact mic) I need steel and they're the best I have tried so far. When I have enough spare cash (probably never) I will have another, better DB set up for arco!

I want to buy some new rosin. The tiny block I was given when I bought my bow is coming to an end and it seems to be getting hard and powdery, perhaps that happens with age? Anyway, to the point. My strings are Thomastik Spirocore Double Bass 3/4 medium. What rosin should I choose and why please? BTW I am a novice arco player but enjoying it very much. Thanks.

Got it, like it. [url="http://mybeatbuddy.com"]Take a look at the BB site[/url]. Obviously not as good as a real drummer, but a lot less trouble and less beer . Real drum sounds (from hand drums to big, old jazz kits), human feel and lots of interactive possibilities. It takes a bit of technical know-how to get the songs set up the way you want them, but a free midi editor and the Beat Buddy Manager software don't take long to master. The user forum is good too. Please note, that I have no link to, or interest in the Beat Buddy company.

Any of you db-ers our there have any experience of the Beatbuddy? I took the plunge for my new Latin Trio, loosely following Buena Vista Soc. Club and ordered one from Thomann. I eagerly await its arrival. Any tips or views would be good.

As always Geoff, the quality of your lessons is superb. Whenever I need inspiration for improving my technique or just to look at someone playing DB properly, I go back to your Youtube lessons and the downloads I purchased (great value). Many thanks for your help in my progress.

I find that the black putty with the AKG 411 contact mic only spreads if you use too much. It only needs to be about 1mm thick covering the base of the mic unit.

After using Dunlop 65 lemon oil on my bass guitar neck for the past 6 years, I started using it on my rosewood DB neck about 3 years ago. Applied in a couple of squirts on a lint-free cloth and wiped up and down the fingerboard under the strings, it helps keep everything smooth, reducing the effect of sweat and keeping the wood in good shape. Although it works for me, I am not sure what others might think. Anyone see any problems with this?

Totally agree with notch filter to take out bad frequencies at high gain. Audio Tools [url="http://studiosixdigital.com/audiotools-modules-2/acoustic-analysis-modules/rta/"]Real Time Analyser[/url] from Studio Six Digital is really useful for identifying the frequency and spread (guesswork eliminator). Mostly I leave this notch set, but sometimes playing on boomy stages it is useful to change it.