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  #41  
Old 09-13-2007, 09:20 PM
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Gareth Hughes Gareth Hughes is offline
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What is AO-BO and the difference related to? I gather that it's to do with volume output, but can you give us a layman's interpretation?
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  #42  
Old 09-13-2007, 11:17 PM
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Default A bit off topic

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What is AO-BO and the difference related to? I gather that it's to do with volume output, but can you give us a layman's interpretation?
Gareth, I will attempt to clear up the confusion, however, I am not as well versed in the terminology or methodology of resonance matching of A zero and B zero as Mr. Branstetter.

This terminology describes nothing to do with microphones' volume output but rather refers to resonance characteristics of stringed instruments which can be determined using microphones as tools in the measuring or determination of these values. The discussion deserves a thread of its' own, which Mr. Branstetter has declined. More information can be found in the published studies of Carleen Hutchins. I think A Zero is the Helmholz frequency or the cavity resonance and B zero is the lowest frequency that the neck and fingerboard and scroll assembly vibrate at. A zero can't easily be adjusted once an instrument is built. But it can be determined by a few methods. Once determined, the B zero frequency can be adjusted by adding or subtracting weight from the fingerboard or scroll to match the A zero frequency or a partial or harmonically related frequency. The desired result is a more responsive instrument.

We now return you to our regularly broadcast discussion of miniature condenser microphones and the application of these to double bass amplification ......

Last edited by David Powell; 09-14-2007 at 12:40 PM.
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  #43  
Old 09-14-2007, 09:45 AM
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Thanks David, food for thought indeed.

Anyone interested in starting a thread about this? ( I would if I even knew the right questions to ask )
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  #44  
Old 09-14-2007, 10:31 AM
Bob Branstetter Bob Branstetter is offline
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What is AO-BO and the difference related to? I gather that it's to do with volume output, but can you give us a layman's interpretation?
If you do a Google search of "Carleen Hutchins A0-B0", you'll get several references including some of the discussion that occurred on TalkBass.

David - Please note that her name is Carleen M. Hutchins, not Charlene. The last time I heard her speak, she was over 90 years old and still one of the most amazing women I've ever met.
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  #45  
Old 09-14-2007, 12:43 PM
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Originally Posted by Bob Branstetter View Post
If you do a Google search of "Carleen Hutchins A0-B0", you'll get several references including some of the discussion that occurred on TalkBass.

David - Please note that her name is Carleen M. Hutchins, not Charlene. The last time I heard her speak, she was over 90 years old and still one of the most amazing women I've ever met.
Sorry, had to fix that spelling. What I have read from her and about her is quite fascinating. Probably the most noteworthy studies of acoustic stringed instruments in centuries.
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  #46  
Old 09-21-2007, 11:19 AM
Eric Hochberg Eric Hochberg is offline
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Just played a gig with Patricia Barber at the Green Mill in Chicago and the club has recently purchased one of these as a "house" bass mic. While I couldn't hear it from the bandstand (it was going solely through the PA mains and I was also using a pickup and amp) the very talented soundman told me he is happy with it.
I posted this and have since discovered that the mic I thought was a Audio Technica Pro 35 is actually an AT ATM35, discontinued model.

Sorry for the error.
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  #47  
Old 10-17-2007, 07:29 AM
Corey DiMario Corey DiMario is offline
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Default audio technica 831b

In live settings I use an audio technica 831b. I think it's intended for acoustic guitars, but works well for my purposes. I picked it up a while back without doing much research. I needed a small mic and that's what the kid at guitar center handed me... lol. I send it directly to the front of house and keep it out of the monitors. For my onstage sound I run a pickup (either an underwood, a schertler stat-b or a Rev solo 2 (depending on the bass I am playing) through an AI new yorker. I also send a line out of the amp to the front of house so the engineer can blend the two signals. Works pretty well. I've heard some board recordings from festivals and liked the combination.

The search for the elusive live sound is a hard one. there are so many variables that once I come up with something that works, gear wise, I don't change it. That way I learn it's nuances and can better tweak it in different rooms and settings.
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