Double bass
- Range
- E1–G4
- Overtones to
- about 2.7 kHz
- Peaks up close
- up to 98 dB SPL
- Sources
- 63 independent: not from a mic maker
Range
E1 to about G4741.2 Hz – 392 Hz
Four strings; sounds an octave below written. A C extension or fifth string goes down to C1 or B0. Harmonics to about G6.
| E string | E1–G#1 | full and dark |
|---|---|---|
| A string | A1–C#2 | clearer and more precise |
| D string | D2–F#2 | full, darker than the cello |
| G string | G2–G4 | rings the longest |
Open-string spans, sounding pitch; "reach" per VSL. Low string of a five-string bass: B0 (or C1 with an extension).
Overtones reach about 2.7 kHz (the highest harmonic within 40 dB of the strongest, at a moderate level; louder playing reaches higher)7,8.
Where the sound comes from
- bow noise (noise): worst close to the bow and strings9
- The front plate is the main radiator over most of the range, but the beam width and axis change with frequency, and some bands come out mostly behind the player.9
The sound
The fundamental of the lowest notes is weak because the body is small compared with the wavelength; the energy sits in the 2nd-6th harmonics, which is what makes the pitch audible.
Where the sound goes
Much of the sound leaves through the f-holes but "little of it is usable"; closer to the bridge there is more articulation, and moving toward the f-hole adds low end. DPA: "many sound sources on the double bass". Bowing is much brighter than plucking, so a bridge mic that suits pizzicato can sound harsh on arco: back off toward the f-hole or add a third mic.3,4
Playing techniques
- Pizzicato: a thump and a quick decay; the finger noise is part of the sound
- Arco: bowed, sustained, many more harmonics and bow noise
- Slap: the string snaps onto the fingerboard, a percussive click
- Sul ponticello / sul tasto: more / fewer upper partials7
Frequency areas
- Fundamentals: 41–98 Hz for the open strings (E1–G2)
- Body and warmth: 100–250 Hz
- Mud: 250–400 Hz (often cut)
- Finger and string definition: 700 Hz–2 kHz
How loud
Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.
| Playing level | |
|---|---|
| 48–83 dB | at 6 m; single double bass, SOS: about 3 dB louder than the cello across its range estimate9 |
| 70–94 dB | at 3 m; acoustic bass, single musician secondary10 |
| 74 dB(A) | at 1.5 m; solitary practice, O'Brien 2013 Queensland study as tabulated by Skalevik (EAA Forum Acusticum 2023), 54 m3 practice room, 23 min LAeq; 2 bassists, mic 1.5 m in front11 |
| Peaks | |
| 98 dB | at 3 m; acoustic bass, single musician secondary10 |
| Player's exposure (dosimeter) | |
| 79.9 dB(A) | percussion and basses together in a ballet pit, 360 h basis12 |
| 77.1 dB(A) | dosimeter within 10 cm of one ear; RCM student orchestra double bassist, average 8-hour daily dose LEP,d over a rehearsal week (Backus et al. 2007)13 |
| 82–91 dB(A) | player's shoulder; Finnish National Opera orchestra, dosimeter on the shoulder opposite the instrument (Laitinen et al. 2003); 4 players, performances/orchestra rehearsals14 |
| 80.8 dB(A) | 0.1-0.5 m from the ear; 1 opera and 3 symphony orchestras in Poland, meters on tripods 0.1-0.5 m from the players' ears, group rehearsals, concerts, performances (Pawlaczyk-Luszczynska et al. 2011); 20 samples15 |
| 84.5 dB(A) | player's ear (dosimeter); Queensland Symphony Orchestra dosimetry 2004-2007, mean LAeq per session (O'Brien data, tabulated by Skalevik); 79 sessions ('Bass')16 |
| 75 dB(A) | player's ears; solitary practice, O'Brien 2013 Queensland study as tabulated by Skalevik (EAA Forum Acusticum 2023), 54 m3 practice room, 23 min LAeq; 2 bassists, either ear11 |
Sound On Sound: the double bass is roughly 3 dB louder than the cello across its whole frequency range (violin and cello 45-80 dB SPL at six metres, so about 48-83 dB SPL at 6 m by that reading, an estimate). Player exposure, ballet pit: percussion and basses together 79.9 dBA (A-weighted, 360 h basis).9,12
Recording it
- Where: under the bridge (between strings and top) for low end plus bite, or toward the f-hole for more level
- Distance: about 30 cm from the centre of the top (Shure); clip mics under the bridge on stage (DPA)
- Mics: an omni avoids proximity bass; a directional mic isolates it but boosts the lows up close; often blended with a pickup
- Watch: bleed from drums reflected off the large top (point directional mics away from the kit)4,5
Mics
- 19 setups from 6 sources, 3 of them independent of any mic maker.
- On top: the mics more than one source names for this instrument, in any role, the most named first. That is a count of sources, not our verdict.
- In the full list, each mic shows how many sources name it for that role, and how many of those come from a mic maker.
- Neumann U 47 2 sourcesClose, outside
All the mics sources name, by setting and role (19)
Studio
Multi-mic plan
- AEA KU41 source
- Mesanovic M21 source
- Neumann U 471 source
Outside
- Neumann U 471 source
The 4 setups behind this: placement and quotes
- Multi-mic plan bridge: Neumann U 47 + bottom of the fingerboard: AEA KU4 + blend: Mesanovic M2bridge mic, a mic low at the bottom of the fingerboard, and a blend mic
"We both usually like a beautiful-condition U47 for the bridge mic." (Todd Whitelock on Christian McBride) ... "I've had great luck with the AEA KU4 cardioid ribbon" on McBride (also used at the Village Vanguard). ... Whitelock: a new ribbon he likes, a very full range ribbon he reaches for more and more (paraphrase).
1 - Outside Neumann U 47outside, about 18 in from the f-hole
"I know that I'm going to immediately start with a (Neumann) tube U 47 about 18 inches from the F-hole on an upright bass." (Al Schmitt)
2 - Outside condenser, two-mic (condenser near the bridge plus small-diaphragm condenser higher up)outside, two-mic
"I often use one mic low, near the bridge... with another small-diaphragm condenser higher up the neck where the strings are plucked."
3 - Close omni (omni, close)close, isolated studio
"Go omni, or go home": omnis show no proximity effect; close omni is accurate in an isolated studio.
3
On stage
Clip-on
- AMT clip-on1 source
- DPA 4099 CORE+1 source from its own maker
Named, no placement given
- Shure Beta 52A1 source from its own maker
- Shure Beta 98S1 source from its own maker
- Shure KSM1091 source from its own maker
- Shure KSM1371 source from its own maker
- Shure KSM1411 source from its own maker
- Shure KSM271 source from its own maker
- Shure KSM321 source from its own maker
- Shure KSM441 source from its own maker
- Shure PG811 source from its own maker
- Shure SM811 source from its own maker
- Shure SM941 source from its own maker
The 10 setups behind this: placement and quotes
- Clip-on AMT clip-onclip-on at the f-hole, stage (hypercardioid, gooseneck)
Live at the Vanguard: a ribbon at the bridge and the AMT clip-on at the f-hole, also split to the house (paraphrase).
1 - Close ribbon, figure-of-eight (figure-of-eight ribbon, near the bridge)live, near the bridge
"I get the best results on bass using a figure-8 mic, like a ribbon" for off-axis rejection onstage.
1 - Clip-on DPA 4099 CORE+clip-on, BC4099 bass clip (bass clip)
Directional 4099 or 4011ES isolates the bass from other onstage sources; the BC4099 clip fits over or under the strings (paraphrase).
4 - Named, no placement given Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure Beta 52A or Shure SM81 or Shure SM94 or Shure PG81listed for acoustic bass
Listed under "Acoustic Bass" in the Shure Microphone Selection Guide (no argument given).
5 - Outside mic 6 in to 1 ft out front, just above the bridgeoutside, above the bridge
Acoustic bass: 6 inches to 1 foot out front, just above bridge, well-defined, natural sound.
5 - Inside mic wrapped in foam behind the bridgeinside/behind bridge
Wrap microphone in foam padding (except for grille) and put behind bridge or between tailpiece and body: full, tight, minimal feedback.
5 - Clip-on condenser, miniature lavalier (miniature lavalier on the strings)clip-on, stage
Miniature lavalier mounted on strings between bridge and tailpiece: full, bright.
5 - Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98Slisted for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).
5 - Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98Slisted for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).
5 - Named, no placement given Bowed strings advice Shure KSM141 or Shure KSM137 or Shure KSM109 or Shure KSM44 or Shure KSM32 or Shure KSM27 or Shure SM81 or Shure SM94 or Shure PG81 or Shure Beta 98Slisted for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).
5
Studio and stage
Close
Named, no placement given
- Shure PGA271 source from its own maker
The 5 setups behind this: placement and quotes
- Close DPA 4006ES (earlier version of the DPA 4006A) or DPA 4061close, gooseneck
Many good spots on the bass; an omni like the 4006ES or 4061 can sit close without proximity bass (paraphrase).
4 - Named, no placement given Bowed strings advice Shure PGA27string instruments
PGA27 is "designed for clear capture of your string instruments" (the only mic Shure recommends on this page).
6 - Named, no placement given Bowed strings advice Shure PGA27string instruments
PGA27 is "designed for clear capture of your string instruments".
6 - Named, no placement given Bowed strings advice Shure PGA27string instruments
PGA27 is "designed for clear capture of your string instruments".
6 - Named, no placement given Bowed strings advice Shure PGA27string instruments
PGA27 is "designed for clear capture of your string instruments".
6
Problems to watch
Boomy bass from a close directional mic (proximity effect); drums reflected off the large top, and stage leakage live.3,1
Sources
- Audiofanzine: Todd Whitelock on Jazz Engineering (Mike Levine, 2016)
- ProSoundWeb: Al Schmitt interview on mic choices
- Recording Magazine: Recording the Upright Bass (Justin Peacock)
- DPA Mic University: How to mic a double bass
- Shure: Microphone Techniques for Live Sound Reinforcement
- Shure: How to Choose the Best Mics for Brass, Wind, and String Instruments
- Vienna Symphonic Library Academy: Double bass
- SHARC Timbre Database v2 (Gregory Sandell): harmonic analyses of McGill University Master Samples
- Sound On Sound: Recording Strings
- Representative noise levels table with orchestra noise guidance (UK Sound Advice material)
- Forum Acusticum 2023: Skalevik, Sound levels at musicians' ears from classical instruments during solitary practice
- Noise & Health 20(93): Noise Exposure and Hearing Loss in Classical Orchestra Musicians, a Five-Year Follow-Up
- Backus, Clark and Williamon: Noise exposure and hearing thresholds among orchestral musicians (ISPS 2007)
- Applied Occupational and Environmental Hygiene: Laitinen et al., Sound exposure among the Finnish National Opera personnel (2003), Aalto repository preprint
- JOSE: Evaluation of Sound Exposure and Risk of Hearing Impairment in Orchestral Musicians (Pawlaczyk-Luszczynska, Dudarewicz, Zamojska, Sliwinska-Kowalska)
- AKUTEK (BNAM paper): Skalevik, Sound levels in symphony orchestra musicians (with O'Brien's Queensland dosimetry table)