TubeNet

Very nice setup, ya got there! Its adjustability is also a big plus.

Something like this could be vewwy, vewwy interesting to other tuba players who use mic's.



Although it does eerily remind me of a certain superlaser on a certain Star of Death...

At the ITEC in Denver, it was either Howard Johnson or Jon Sass that had what appeared to be rubber straps across the bell with a mic at the intersection.

bloke wrote:

schlepporello wrote:How are the results so far? Does the microphone not necessarily need to be dead center in the bell or is being off center as in the photo OK?

It can be moved around, if desired. Think about it:

There is no requirement whatsoever that the three arms be set symmetrically (so that the threaded post is centered on the bell).

bloke "Experience tells me that slightly closer to the bell edge offers more punch for amplification purposes, and centered offers more accuracy for recording purposes.."

Just like it does for guitar and bass amplifier speakers, and most go for a little of both, positioning the mike slightly off center to avoid any tubbiness from the voice coil.

I hope Yamaha doesn't sue . . . .










Cheers,

I often just drop a mike right down the bell... right to the bottom bow on an upright tuba. You would think it would go sharp... but it doesn't. Where you put the mic doesn't seen to make much difference. Here's a gizmo I made from small telescopic tubing and some pieces of rubber. It holds one of those little 'lapel' mics to any bell from 13" to 30".

Have any of you experimented with using a good contact mike attached to the inside of the bell? Twice last year, I was miked that way. The first was playing for the Broadway musical, Chicago. The sound man stuck a small square of velcro about 12 inches into the bell, then fastened the mike to that. That set-up worked great, and later in the summer, the sound man at an outdoor big band concert in Geneseo, IL, basically did the same thing. The weight factor was negligible, and it worked great for live performances. I don't know how well the contact mike would work for recording - might really prefer Bloke's set-up.

Bloke, I really think you could get cleaner articulation if you'd polish the bell of the hel-o-con. . .

I'd be concerned about that metal on metal clamping messing up the bell.

lgb&dtuba wrote:I'd be concerned about that metal on metal clamping messing up the bell.

A few pieces of 'Moleskin' will fix that.

I absolutely hate the sound of a tuba mic'd directly in the bell. It doesn't sound like a tuba. There's no color to the sound, only bottom. And that's an electric sound. IMO, if you want that sound, play an electric or electronic instrument.

I will stop playing when a sound guy shoves the mic down my bell. I refuse to play with that sound going out.

I guess that's just me, based on the responses.

Anyone else try the "decorative plate holder" apparatus that Steve Dumaine (sp?) used the other night at USABTEC? granted he was suing a distortion pedal but would that be simple and work for just amplifying the tuba sound?

eupher61 wrote:I absolutely hate the sound of a tuba mic'd directly in the bell. It doesn't sound like a tuba. There's no color to the sound, only bottom. And that's an electric sound. IMO, if you want that sound, play an electric or electronic instrument.

I will stop playing when a sound guy shoves the mic down my bell. I refuse to play with that sound going out.

I guess that's just me, based on the responses.

I felt that way, too..... until a three day long six hours a day Octoberfest gig a few years ago!

If I have the luxury of a stable recording studio, I always prefer a mic on a stand, off center and about 3-4 feet away. ....But, when I need to sound more punchy and through an amp and I need to be able to move if the music "needs it", I've been slinging the mic down the bell. Usually, when I drop a mic down the bell it is when I'm not necessarily looking for a big round warm-n-dark tuba sound, so timbre perfection isn't the deal. However, I don't like the mic rolling around, and I don't like having to take-it-out when I need to twirl the horn to remove spit, and the life of a microphone in the humid environment of a bottom bow prolly ain't the best. ....so, I would kinda like one of these neat-o contraptions.....sorta splits the difference between the two extreems I usually encounter.

Hey bloke, how "rowdy" can you get with the bell of your helicon while your playin' and still keep the mic all nice an tight?

Lee Stofer wrote:Have any of you experimented with using a good contact mike attached to the inside of the bell?

I've used 'em. Those extreemly cheap little Bug Brand "fly" contact mic's actually sound pretty nice...for the money. The more expensive one can sound a little better. The main problem to overcome is that they pick-up every creak-n-tap you make with your horn. really....anything mildly percusive against the metal is picked-up even if it's at the other end of the horn. If you have noisy valves...forget-it. Still, they can be a lot of fun.

Check-out The uses Bian Wolff has found for contact mics and the ol' Barcus Berry mouthpiece pick-up.