That's a good question... On the Rubner Bass that I use for most tests I do have two bridges. The adjustable one is more for lower actions, for steel strings for instance. But I also sometimes have quite thin strings on the other bridge. I have the feeling that thin strings "don't care" if the notch is a little wider. And also the grooves in the nut are "one size fits all". I can't exactly tell you how it works, maybe the grooves are slightly too small for really thick strings and slightly too wide for thin ones. But I never had issues like strings breaking at the nut. Sorry that this answer doesn't really give "solid advice"... It works somehow and I am ok with that.

The normal one. Thank you for your feedback!

Sorry for this question. I watched the video again and I saw that you indicate the need to lower the strings by a semitone. Thanks.

Great! Yes it's good to loosen them a little, maybe even a whole tone.

Interesting, I think I never played the Evahs over a longer period of time. Thanks!

Hi Lucien, no I never tried Remic. Thanks for the idea, I'll have to check them out. BTW your name sounds familiar, I wonder if we met sometime (a long time ago) or if I saw your name on some concert lineup or on a record? Maybe you have an idea?

To be honest, I found the difference so subtle that I would say you can take any DI box of the established brands.

Thank you!!

If you have the light set, you can take a helicore solo G (actually A in the solo set, but you tune it down to g).

Welcome, thank you!

Muchas gracias 😀!

Thank you very much for your feedback! The wrapping is flat, it's a smooth flat wound string.

Thanks you! Sorry, I really can't remember the setting... I just use my ears and dial the EQ until I like the sound. Maybe I had a real low cut under 50 Hz plus a little shelf between 50 and 120 Hz, but that's just one possibility, maybe it was different.

Oui le EBS est un excellent préampli. Seulement, je trouve que le placement des connections, LED, potentiomètres, interrupteurs n'est pas très logique. Je vais peut être faire une video sur ce produit.

I agree, I also often use a Tube mic (AT 4060) plus a SDC (Sennheiser MKH40 with low cut on the mic) showing onto the fingerboard to the spot where I pluck. So interesting that you use the same method!

Thank you for sharing your experience, the Gallis are also my favorite among the strings that you mentioned! I am happy if my video helped.

Great, I am happy to hear that my video helped!

I think the velvet blue had a synthetic core and a flat copper winding. Unfortunately they aren't produced anymore.

Hey, I see that we're both watching this kind of old video so I thought I'd share my experience in case it's helpful or if the author can't. Over the past few years I switched from using a bass amp to using a powered PA speaker for all of my double bass uses. It used to be that I would do a lot of doubling gigs so I would put both electric bass and upright through the bass amp. But as I started moving more toward just using a mic, or a blend of mic and piezo, on upright only gigs, I found myself a little disappointed in the sound. That's because bass amplifiers, whether valve or solid state, are voiced in a particular way to emphasize certain electric bass tones and compensate for the direct sound coming from the pickup. I wanted something that just recreated the sound I was throwing at it but with minimal distortion and EQ, so I settled on a QSC K10 v1. I would probably choose a K12 but was able to pick up a pair of 10s used for a good price. My current configuration is a Gage Realist (that I've owned for 20 years), a SDC mic (Oktava MK-012), into a preamp of my own design with separate eq, phase, and volume controls, into the QSC, which is mounted on a stand at my ear level. I find with this setup, I have the most flexibility and control over my sound, and I always get compliments on it. However, using a mic has drawbacks as well, the biggest of which is feedback, especially when sending it to a front of house mixer in a theatre where the technician must be really careful not to put it into the wedges. To more specifically answer your question, I've used dynamic mics on my bass before and have often liked the sound as well, but as I tend to like the low end of the piezo mixed with the detail and high end of a condenser mic (I HP the former and LP the latter). I don't know if just using a dynamic mic is any better than using a pickup, but the benefit of a dynamic mic is that it's much more feedback resistant than a condenser. As far as using an amp, yeah, it could work, but keep in mind that there is an impedance and voltage mismatch between the mic and the input of a bass amplifier. The voltage is very low and the amp impedance is too high (a rare case as usually you want a high input impedance with a low impedance source), so the sound may be a bit "loose" or "wolly." The sound would be improved with an impedance matching transformer before the amp, or a preamp. As always, YMMV, but I'd say try it out and see how it sounds! If you don't own an SM57, I guarantee you know someone who does, probably being used as a doorstop, so what's there to lose? 😂 Good luck!

Thank you Michael for answering this question. Yes, basically it is possible to use a mic to amplify a bass through an amp or an active speaker (and yes, a mixer or a preamplifier will be needed in most cases). But you will always (with any mic) have some limitations considering the feedback problem. Some solutions work better than others, but - especially if you run through the amp on the stage - you have to try out weather you can get the desired volume on stage without feedback. And yes, Michaels suggestion is good: If you use a mic and a pickup, it is a good idea to set the channels in such a way that you get the high frequencies mainly from the mic (that gives the sound a natural woody touch) and the low frequencies from the pickup (the lows of a pickup are mostly nicer than the highs and you get around low frequency feedback issues this way). Since a few weeks I am testing a setup with the Ishell contact mic for the highs and a David Gage Lifeline for the lows. I run them into an EBS S. Clarke preamp. I am very happy with the result.

It should be Exploraudio exploraudio.com/categories/bass-mount-standard-/11/

Thank you very much!

Great, thank you! For pizz I think the Chorda are better. The round winding make them less dull than the Olivs, you will get a clearer, punchier sound with Chorda.

Thank you very much for this feedback, I am glad you found the video interesting!

Thank you for your feedback. I must say I never owned the dpa myself. But also in my tests I noticed this "rascheln" noise. I can't think of a quick remedy. But I think dpa should find a softer type of foam for the foam "windshield". The bass ball is actually made of a softer type of foam which would work better, I think. I think the bass ball is better in terms of user-friendliness. It's really practical to use. But I had the feeling that the sound has a little too much emphasis on the mids with the possible mic positions of the bass ball. But this also depends on which mic you use it with, I only tried the ATM35. I think it's worth giving it a try.

Yes the Nadine has quite a lot of bleedtrough, that was also my experience.

I would like to do that, but I already have a couple of other sets waiting to be tested (or the footage waiting to be edited). I couldn't find time for this channel in the last months, I hope I'll be able to finish some reviews in the upcoming months.

Hi Luke, sorry for the late response. My feeling was that the 920 sound more vintage. But I may be wrong. I was looking more at the decay, which felt more modern to me with the 900. I didn't notice any disturbing rolling. Good luck, and let me know how you like them when you try them.

Merci Nicolas !