Bowed strings

Double bass

Bowed strings: Violin, viola, cello and double bass. Many sources write for strings as a group, and viola advice is often 'as for the violin', so advice for the family shows on each member's page.

Also called double bass, upright bass.

Part of the Bowed strings family; that family's advice shows here too.

Range: E1–G4
Overtones to: about 2.7 kHz
Peaks up close: up to 98 dB SPL
Sources: 6 (3 independent)

Recommended mics

Mics sources recommend

19 setups from 6 sources, 3 of them independent of any mic maker. Each mic shows how many sources name it for that role, and how many of those are independent. Listed alphabetically: there is no ranking.

Studio

Multi-mic plan

AEA KU41 independent source
Mesanovic M21 independent source
Neumann U 471 independent source

Outside

Neumann U 471 independent source
condenser, two-mic (condenser near the bridge plus small-diaphragm condenser higher up)1 independent source

Close

omni (omni, close)1 independent source

The 4 setups behind this: placement and quotes

Multi-mic plan bridge: Neumann U 47 + bottom of the fingerboard: AEA KU4 + blend: Mesanovic M2
bridge 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 47
outside, 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 independent source
DPA 4099 CORE+ maker's advice1 source, 0 independent
condenser, miniature lavalier (miniature lavalier on the strings)1 source, 0 independent

Close

ribbon, figure-of-eight (figure-of-eight ribbon, near the bridge)1 independent source

Named, no placement given

Shure Beta 52A maker's advice1 source, 0 independent
Shure Beta 98S maker's advice1 source, 0 independent
Shure KSM109 maker's advice1 source, 0 independent
Shure KSM137 maker's advice1 source, 0 independent
Shure KSM141 maker's advice1 source, 0 independent
Shure KSM27 maker's advice1 source, 0 independent
Shure KSM32 maker's advice1 source, 0 independent
Shure KSM44 maker's advice1 source, 0 independent
Shure PG81 maker's advice1 source, 0 independent
Shure SM81 maker's advice1 source, 0 independent
Shure SM94 maker's advice1 source, 0 independent

Outside

mic 6 in to 1 ft out front, just above the bridge1 source, 0 independent

Inside

mic wrapped in foam behind the bridge1 source, 0 independent

The 10 setups behind this: placement and quotes

Clip-on AMT clip-on
clip-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 PG81
listed 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 bridge
outside, 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 bridge
inside/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 98S
listed 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 98S
listed 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 98S
listed for strings
Listed under "Strings" in the Shure Microphone Selection Guide (no argument given).⁵

Studio and stage

Close

DPA 4006ES (earlier version of the DPA 4006A) maker's advice1 source, 0 independent
DPA 4061 maker's advice1 source, 0 independent

Named, no placement given

Shure PGA27 maker's advice1 source, 0 independent

The 5 setups behind this: placement and quotes

Close DPA 4006ES (earlier version of the DPA 4006A) or DPA 4061
close, 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 PGA27
string 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 PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".⁶
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".⁶
Named, no placement given Bowed strings advice Shure PGA27
string instruments
PGA27 is "designed for clear capture of your string instruments".⁶

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

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

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

Problems to watch

Boomy bass from a close directional mic (proximity effect); drums reflected off the large top, and stage leakage live.^3,1

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

Sources

Audiofanzine: Todd Whitelock on Jazz Engineering (Mike Levine, 2016)engineer · en.audiofanzine.com
ProSoundWeb: Al Schmitt interview on mic choicesengineer · prosoundweb.com
Recording Magazine: Recording the Upright Bass (Justin Peacock)magazine · recordingmag.com
DPA Mic University: How to mic a double bassmanufacturer · dpamicrophones.com
Shure: Microphone Techniques for Live Sound Reinforcementmanufacturer · 2007 · music.arts.uci.edu
Shure: How to Choose the Best Mics for Brass, Wind, and String Instrumentsmanufacturer · shure.com
Vienna Symphonic Library Academy: Double basseducational · vsl.co.at
SHARC Timbre Database v2 (Gregory Sandell): harmonic analyses of McGill University Master SamplesGregory Sandell · academic · github.com
Sound On Sound: Recording StringsHugh Robjohns · magazine · 1999 · soundonsound.com
Representative noise levels table with orchestra noise guidance (UK Sound Advice material)eclass-b.uoa.gr
Forum Acusticum 2023: Skalevik, Sound levels at musicians' ears from classical instruments during solitary practiceMagne Skalevik · academic · 2023 · dael.euracoustics.org
Noise & Health 20(93): Noise Exposure and Hearing Loss in Classical Orchestra Musicians, a Five-Year Follow-Upacademic · 2018 · pmc.ncbi.nlm.nih.gov
Backus, Clark and Williamon: Noise exposure and hearing thresholds among orchestral musicians (ISPS 2007)academic · 2007 · researchonline.rcm.ac.uk
Applied Occupational and Environmental Hygiene: Laitinen et al., Sound exposure among the Finnish National Opera personnel (2003), Aalto repository preprintHeli M. Laitinen, Esko M. Toppila, Pekka S. Olkinuora, Kaarina Kuisma · academic · 2003 · aaltodoc.aalto.fi
JOSE: Evaluation of Sound Exposure and Risk of Hearing Impairment in Orchestral Musicians (Pawlaczyk-Luszczynska, Dudarewicz, Zamojska, Sliwinska-Kowalska)Malgorzata Pawlaczyk-Luszczynska et al. · academic · 2011 · portal.ciop.pl
AKUTEK (BNAM paper): Skalevik, Sound levels in symphony orchestra musicians (with O'Brien's Queensland dosimetry table)Magne Skalevik · academic · akutek.info