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Double Bass

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Equipment installation

J48CCB / J48ACB / X48JC:

 

 

  • Plan your cable route and system placement.
  • Clean the gluing spots. The location of the microphone should be clean and smooth.
  • Insert the Jack in the mounting plate, pass the washer, then tighten it all with the nut.
  • Then clip the binding onto the two central strings between the bridge and the tailpiece.
  • Stick the Velcro scratch of the 9v battery pouch behind the tailpiece then secure it.
  • Attach the cable tie which has Velcro behind the tailpiece and pull out any excess cable. You can make loops with the 3 cable ties.
  • J48CCB : Place the contact microphone in the desired location, a cable tie at 3 cm with a little putty then make your first tests. Adjust the mic placement if necessary several times. See below.
  • J48ACB : Place the aerial microphone in the desired location, follow your cable path with the cable ties then do your first tests. Adjust the mic placement if necessary several times. See below.

X48C / X48A / X-Jack / 2X48AC :

  • Plan your cable route and system placement.
  • Clean the gluing spots. The location of the microphone should be clean and smooth.
  • Secure the system and possibly the 9v battery behind the tailpiece with the Velcro scratch. Confirm the positioning beforehand with the cables connected.
  • Contact microphone: Place it in the desired location, a first cable tie at 3 cm, fix it with a little putty adhesive, then do your first tests. Adjust the mic placement if necessary several times. See below.
  • Aerial microphone: Fix it in the desired place, follow your cable path with the cable ties, fix them with a little putty adhesive, then do your first tests. Adjust the mic placement if necessary several times. See below.
  • Secure and retract the excess cable behind the tailpiece using the cable tie with the Velcro scratch. You can make loops with the 3 cable ties.

Positioning of the contact microphone

3CB placement

  • As a reminder, it is important to properly prepare your contact microphone for installation, do not hesitate to reread the advice below depending on your model:
  • Original C1 contact microphone preparation page
  • C2 and C3 contact microphones preparation page
  • It is better to install these systems permanently in order to have stable sound between each session.
  • Start with position 1, this is the default position, take the time to insist in this area before trying other positions. The ripening is done to within 2 or 3 mm.
  • Position 1: Take the center of the acute foot of the bridge and shift 3/4mm to the left. The microphone is placed as close as possible to the foot, the adhesive putty can be crushed on the foot with the C1 contact microphone.
  • There is generally less bass to the left and more bass to the hearing. Depending on the result, modify the positioning by 2 / 3mm for each test.
  • The placement of the soul is important. If its center is 2/3 cm from the foot of the bridge, this position is fine. If the core is lower, 4 / 5cm, it is necessary to take the center of the bridge foot as a base and descend slightly to approach it. Not too much, otherwise the sound becomes harsh and aggressive.
  • Position 2: Near the foot on the bass side, under the bridge bridge, adjust down a few millimetres.
  • Position 3: On the bass side, about 10 cm from the foot of the bridge, at the level of the round hole of the hearing, place the microphone at the edge of the soundbar (reinforcement bar which passes under the foot of the bridge), inside or outside , both sides should be tried depending on your double bass. Adjust the sound by getting closer to the bar for a harder and more precise sound or away from it for a rounder but less precise sound, you have to find the right balance. Height adjustment is also important. Try to go up and down to specify the most interesting.
  • Adjust the compression if necessary. If the notes are more or less strong, press the microphone again to compress the sound, which can correct these note power problems, but also excessively present harmonics. With the C2 and C3, if that's not enough, you have to reduce the amount of putty a little to compress the sound more.
  • Your system is delivered to you with the low cut positioned on 360Hz. We recommend to research the placement of the microphone on this position. If after determining the best location, you find the sound lacks bass, then set the low cut to 180Hz. If you find that the sound still lacks depth, try the Flat position.
  • Mic C1: If after setting the best spot the sound remains too bright, try resting the mic in the same spot with the gray putty which sounds duller in the highs and rounder in the bass.
  • Installation details: Check that the microphone is parallel to the soundboard and not tilted.
  • Once the right location is found, avoid removing it, otherwise, take serious indentation and positioning marks or photos.
  • Prefer a neutral, powerful amplification. The HP of 12 are particularly suitable.

Positioning of the aerial microphone

  • Attach the aerial microphone as in the photo, about 2cm from the table surface, pointing slightly towards the center. You can use the putty adhesive or the Velcro scratch provided. The installation areas must be cleaned well before application.
  • It can also be placed at the edge of the low round acute hearing hole, directed towards the top center of the instrument.
  • The low cut position for overhead mics is always 360Hz, your system is delivered to you in this position.
  • The aerial microphone is generally reserved for the face with 30% of the aerial contact mix. Gives air, acoustics and depth to the sound.

Use on stage and feedback management

Contact microphone:

  • Allows high levels face / returns, easy use on amp.
  • Use of effects pedals, loopers with loops without resumption of surrounding sounds ...
  • Contact microphone + Aerial on noisy stages, put only the contact microphone in return and on the front panel 70% contact and 30% aerial.
  • Move away as far as possible from powerful sounds, especially drums, because the double bass resonates with it out of sympathy, you risk having the sound of the bass drum in the contact microphone.
  • Feedback> If you have a wedge on the ground, place it on your side rather than in front of the instrument.
  • If you can, raise the wedge to prevent it from projecting sound into the bass body and to bring it closer to your ears.
  • Barrel sound> Hollow out around 300 / 400Hz.

Aerial microphone:

  • The aerial microphone should be reserved for the hall and should not be sent on stage for musicians, or very little.
  • On an amp, slowly turn up the volume and stop as soon as the risk of feedback approaches, usually 30% of the mix with the contact mic.
  • Larsen in the bass> Reduce the frequencies below 200Hz if necessary. 
  • On oversized sub-bass systems, add a high pass.
  • On some systems, reduce the treble slightly.

Amplification

  • To have a natural sound, a neutral, quality amplifier, without coloring, dedicated to acoustics is recommended, or a quality stage monitor.
  • If you can, prefer an HP of 12 which is well suited to the double bass and the system Ischell. Some examples with the Traynor SB112, Markbass MINI CMD 121P

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