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Remic D5400 Upright Bass Condenser Studio Microphone

I regularly gig with NC-based bassist David George, a multi-instrumentalist (of various stringed acoustic instruments) who focuses primarily on bass guitar.

Remic D5400 Upright Bass Condenser Studio Microphone I regularly gig with NC-based bassist David George, a multi-instrumentalist (of various stringed acoustic instruments) who focuses primarily on bass guitar. Often performing on upright/double bass (or “bass fiddle,” in bluegrass circles), he was intrigued when I showed him this truly unique, Danish, handcrafted condenser microphone for double bass: the D5400 ($900 direct), by relatively unknown manufacturer Remic Microphones. Designated as Remic’s “Studio” model, the D5400 also has a “Live” sibling, the D5400LB, with few differences except for “high suppression of feedback” listed as a primary design feature.

The D5400 is delivered in a handy plastic storage box and inside, a gig bag-ready padded pouch holding the 48V phantom-powered microphone with its largely foam, uniquely shaped body featuring Remic’s trademarked SAM (Soundboard Area Microphone) technology, allowing placement underneath the very bottom of an upright’s fingerboard. It features an omnidirectional, pre-polarized condenser element, a broad frequency range of 6 Hz-23 kHz, 164 dB maximum SPL before clipping, notable feedback suppression characteristics, high isolation of other sound sources, a built-in fabric- wrapped 6.5-foot cable with XLR connector, and more.

George took the D5400 and his Engelhardt M3 Maestro 3/4 upright out for several bluegrass/gospel gigs and discovered a lot to like about Remic’s mic design philosophy. “The D5400 performed as expected—the sound was clean and natural,” he said. “There was no noticeable ‘boom.’ It responded quickly and consistently, even during an arco passage. My bandmates commented on how good my bass sounded. The sound coming through the monitor mix was just like I’d placed my ear to the back of my bass.”

The D5400’s feedback suppression is more than a noted feature; it’s a fact, offered George. “The complete lack of feedback surprised me,” he said.

George’s only noted negative was the D5400’s high price, and its “overly long” cable with XLR connector. That said, overall he was “blown away with the performance” of the D5400. “If you want your bass to sound like your bass and avoid all the problems caused by other types of microphones, you cannot go wrong with the D5400. This one is staying in my gig bag until they make me send it back!”
Remic
remic.dk

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