Klarinet Archive - Posting 000197.txt from 2005/03

From: "Benjamin Maas" <benmaas@-----.com>
Subj: RE: [kl] Bass pick up
Date: Sat, 5 Mar 2005 02:11:36 -0500

I knew I was going to end up getting mentioned at some point... :p~

I always have fun reading purist arguments- whether it is Dan's comments =
on
dark or nationalistic sounds or in this case people's ideas that music
should never be amplified. I've written quite extensively here about =
how
the fact that most of the people don't like amplification because it is
often not done well. A good amplification job can be quite effective =
and in
many cases it can save the performance. A perfect example is the Kronos
Quartet. Even when they perform the "standard" repertoire that =
shouldn't
need amplification, they use it. Why? A couple reasons- often it takes =
some
help to fill the halls that they play in. Also, since a number of the =
works
they do absolutely require it, the ones that don't will sound strange if
they aren't amplified. It is all a matter of perspective. I can site
numerous other examples of shows that I have worked that fit that =
category,
but I'll save the writing- just trust me. Amplification isn't always a =
bad
thing- and Yes, even the saxes should be amplified sometimes. :D

Now, to the question at hand...

For bass clarinet, I've worked with 2 different systems. Unfortunately, =
I
was the engineer so I don't remember the brands, but they should be easy
enough to figure out. The first system involves drilling a hole in your
mouthpiece (or barrel on a clarinet) and placing what is basically a =
contact
mic in the instrument. I'm not overly fond of the sound from this =
setup,
but it has the advantage that it just won't feed back under any =
circumstance
(sort of like an Underwood pickup on an acoustic bass). You are =
basically
amplifying the vibrations off the instrument. Because of the resistance =
to
feedback, you'll be able to get louder and do more "stuff" to the sound =
(ie
delays, reverb, flanging, etc...).

The second is a 2 microphone setup that clips to the instrument. Here, =
you
are actually micing the sound that is going off the instrument into the
room. It can sound very good as you are amplifying sound rather than =
the
physical vibrations. You also don't have to sacrifice a mouthpiece to =
do
it. The downside is you'll have less gain before feedback. In most
situations, it shouldn't be a problem, but if you are tight on stage and
have a speaker right near you (either monitor or other PA speakers) you =
may
have issues...

For a clarinet, I'd add a third system for performance. It doesn't work =
as
well for bass, but in a pinch, it'll do. Taking an omni-directional lav =
mic
(usually wireless) and placing it right in the center of your chest =
(like
right where the ribs come together). You can have a remarkably good =
sound
and have complete control over where you can go on stage... I've done =
this
with Richard Stoltzman and Eddie Daniels in performance and been quite =
happy
with the sound for both.

--Ben

Benjamin Maas
Fifth Circle Audio
Los Angeles, CA
http://www.fifthcircle.com

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