Until a few weeks ago, I was never aware of Remic Microphones
(pronounced “Ree-Mike”) or their D5400 mic
for upright basses. For years, I have used the standard Al Schmitt method of miking an upright bass, which is a large diaphragm condenser
near the bridge and f-hole, and one on the top of the bass near the ﬁngerboard. Al uses two Neumann M149s
(which is a $10,000 microphone setup), I’ve been partial to using a Neumann U 47
on the bridge position and a Neumann U 67
on the neck, but if you don’t have access to high-end microphones, any two large diaphragm condensers would do the trick. Using that method, you can achieve a lot of depth and low end from the bridge microphone, and the attack, string noise, and presence of the instrument from the ﬁngerboard microphone.
My buddy Takashi Iio and I had a session come up and it happened to be the day these Remic Microphones had come across my desk for a demo. Takashi is one of the ﬁnest bass players I’ve ever seen, his playing ranges from jazz to rock and everything in between. He is the top of the A-list musicians here in Detroit, ﬁrst call for every gig and studio session, and plays on over 250 studio recordings each year. When you get to that level of playing, you become very particular about your tone, which I believe we had completely dialed in, that was until the Remic was put to the test. Continue reading →