Small condensor for live micing of URB

[Obi-Wan zenabI]

Hey people, I have had a rane two channel piezo / mic mixing rack pre in my live rig forever, and have not gotten around to adding the mic to my fishman.

The fishman can cover the low mids, but I think that I can replace tyhe piezo-y finger-string soudn emphasis in the upper range with a mic.

Who's got a CHEAP suggestion for a mic? The Rane sends phantom power-- switchable +6 vdc or +15.

There are URB specific mics like the K&K Golden Bullet, but I'd rather dig up a cheap ebay-find type mic than spend much over $100.

http://www.rane.com/pdf/old/ap13man.pdf

 

[mshilarious]

It's a bit inaccurate for the Rane to say it supplies phantom power when it's an unbalanced input. That would more properly be called plug-in power, although plug-in power usually isn't +15V.

I thought I remembered you have a mic I might have had something to do with; if that's the case, with the exception of a few models, it should work unbalanced with either voltage.

 

[Obi-Wan zenabI]

It's a bit inaccurate for the Rane to say it supplies phantom power when it's an unbalanced input. That would more properly be called plug-in power, although plug-in power usually isn't +15V.

I thought I remembered you have a mic I might have had something to do with; if that's the case, with the exception of a few models, it should work unbalanced with either voltage.

I wish!

There was a great drum mic set on offer at one point, but I never snagged it-- the money went to see what ribbon mics were all about. I'd probably have gotten a million more percent use out of those drum mics!




I posted this after dropping by a site that you had something to do with, and saw that there were no unidirectional mics in the current lineup, otherwise I'd have jumped on one.

The Rane has a TRS inputw with a little switch to choose which contact is the mic and which is the piezo.

I should post a WTB thread...

 

[mshilarious]

I would question whether you really want a cardioid mic as an instrument-mounted mic. Really, what you want is a boundary mic, using your soundboard as the boundary surface. Gain before feedback should be plenty high due to the close proximity of the mic to the instrument, and very small omnis have much better high frequency response than very small cardioids.

Of course, the above noting my obvious bias . . .

 

[Obi-Wan zenabI]

Hey, if it weren't for bias and opinions, we'd all be pretty bored trying to find something to talk about on HRbbs!

I do the sound and double on electric for our gigs, so I'm running two monitor mixex, FOH mix, and playing. I'd be really afraid to risk feedback with any omni-- even considering the relatively low gain I'd need-- but a cardioid would give me a little more sense of security.

I can imagine an omni set in under the tailpiece, with foam behind it. But from what I read in the bass forums, flexibility in placement is key to tracking down the best tone.

Heil apparently had a "stubby" version of its large dynamic PR40, but I haven't heard anything about its release. It's also out of my price range....

Since it is live, I don't mind a little "character" in the response profile of the mic. As long as its adding clarity and definition, while still sounding like a bass, I'll be happy.

What would help is simply a list of mics that would run on +6 or +15...

 

[mshilarious]

What would help is simply a list of mics that would run on +6 or +15...

Pretty much you are looking at the type of mic that is used as a lapel or hanging choir mic; AT853 etc. The raw capsules aren't too expensive and will run direct on +6V. You may have to terminate them to the cable arrangement you need. They sometimes come with adaptors for real +48V balanced phantom power, but you don't need those.

Keep in mind that if you shove a cardioid mic under a tailpiece, you will drastically alter its response if its vents are blocked. That will often create a large resonant peak in the midrange, and defeat your goal of off-axis rejection--and when the rear of the mic is pointed down towards the floor or the bottom of underneath your tailpiece, I am not sure which sounds you are hoping to reject . . .

Whatever capsule you pick, I would try attaching it to your soundboard with gaffer's tape--again making sure the gaff tape doesn't cover the vents.

 

[leddy]

One of the best mics for DB I have used at any price is mshilarious' original MSH1.

It is so small and light that can suspend between the bridge feet (the rubber band trick) with almost no perceptable muting effect on the bass. It's sensitivity is such that it really does not pick up more bleed from other instruments than a cardioid when it is that close to the bass.

Under these particular circumstances, no other mic (Earthworks, Beyer, Shure, EV, etc.) that I have tried has done as well. Other mics are heavy, big, pick up too much bleed, have proximity effect, etc.

I don't think you can get it anymore. Good thing I bought four. Maybe mshilarious can provide more info.

 

[Obi-Wan zenabI]

One of the best mics for DB I have used at any price is mshilarious' original MSH1.

It is so small and light that can suspend between the bridge feet (the rubber band trick) with almost no perceptable muting effect on the bass. It's sensitivity is such that it really does not pick up more bleed from other instruments than a cardioid when it is that close to the bass.

Under these particular circumstances, no other mic (Earthworks, Beyer, Shure, EV, etc.) that I have tried has done as well. Other mics are heavy, big, pick up too much bleed, have proximity effect, etc.

I don't think you can get it anymore. Good thing I bought four. Maybe mshilarious can provide more info.

Exactly. Wish i'd gotten one when I had a mind to.

Those hanging choir mics are exactly what I was thinking, but I didn't know about their voltage requirements. Awesome to hear that there are ones out there that are +6

Under the tailpiece would only be something i'd try with an omni. A cardioid I'd use as Leddy suggests, through the afterlength and pointed towards the body of the bass between the legs of the bridge.

 

[Obi-Wan zenabI]

Whatever capsule you pick, I would try attaching it to your soundboard with gaffer's tape--again making sure the gaff tape doesn't cover the vents.

Niether of my basses are really all that special, but gaffer tape on a '41 kay and a Juzek! Not quite a sacrifice i'd want to make in search of tone....

 

[dgatwood]

Niether of my basses are really all that special, but gaffer tape on a '41 kay and a Juzek! Not quite a sacrifice i'd want to make in search of tone....

Heh. I'd try silly putty to experiment with placement, then mount it more permanently once you've found the sweet spot. Or not.

 

[leddy]

Under the tailpiece would only be something i'd try with an omni. A cardioid I'd use as Leddy suggests, through the afterlength and pointed towards the body of the bass between the legs of the bridge.

The MSH1 is omni. I said that it does not pick up any more bleed than a cardioid does because it is so close to the bass.

 

[Obi-Wan zenabI]

omni? Maybe I just have a hangup/ preconceived notion about anything omni live.

I have some 604's that I could play with to see what happens with the omni capsules, but i was hoping that there was some little bitty cheapie condenser with decent off axis rejection for cheap out there.