Gear Daniel uses and recommends
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Instruments:
Peter Staszel Cello
5 string cello by Gary Davis
(I don't usually recommend strings since it's so personal to you and your instrument, but the cello E is an exception. I've found the Larsen E to be best and longest-lived, with the Jarger E my next choice)
His great grandfather's violin
Gear:
The Realist cello pickup - a solid, strong signal that is one of the industry standards for cello. Cons are that it is not quick to install or remove, and does effect the bridge setup slightly.
Baggs Bridge (violin) - another industry standard, good for those who are OK with having the pickup permanently installed (the transducer is embedded in the bridge, so in order to remove it you need to put a different bridge on)
Baggs Para-acoustic DI - a glorified direct box with a lot of bells and whistles
Baggs Venue DI - even more bells and whistles
Audio Technica Pro-70 clip on mic (for low volume amplification). This mic is a real workhorse, and sounds great for acoustic amplification (compare to the DPA 4099 below and see it's a fraction of the price!) I've had mine for over 10 years and it's going strong.
MuTron pedals - classy and REALLY amazing sounding. Owned and operated in the states by an excellent musician and buddy of mine, Rand Anderson.
Boss Loopers (usually RC-300 loop station) - get LOOPY!
Marshall, Fender, and Line 6 amps
Gear that CCC members use
Amplification is a personal endeavor - everyone needs to make a choice depending on the sound desired and the needs of the music played.
In general, a transducer (contact pickup) is going to sound a lot like another transducer. There are ways to refine the sound, but it will never sound like a microphone - just get over trying to make that happen and accept that you are working with a different palette.
You can blend a mic with a pickup for a more organic sound, however if the sound on stage (or wherever you happen to be playing) is loud then any mic at all becomes problematic.
Here are some more options used by members of the CCC (Contemporary Cellists Club).
Please keep in mind Daniel has NOT tested or tried out all of this gear. There are many, many possibilities, and it often takes some experimentation to find out what works best for your situation!
Pickups
The K&K Big Twin - this will work best with each transducer placed either on the feet of the bridge, or just nearby either foot.
The KNA universal mini stick-on - this is a low-cost point of entry which will get you started. Try placing it just below the treble foot of the bridge.
The KNA VC1 - Again, a relatively low cost point of entry, and easy to remove/install for folks who don't want something that will effect the bridge setup or take a long time to remove when needed.
Mics
DPA 4099 - A clear sound and higher end mic for amplifying an acoustic sound. Not effective when the stage sound is loud (monitors, drums, or other amplified instruments in the space).
Loopers (scroll down for choices)
Using a looper consistently in your practice can revolutionize your musical exploration and understanding.
Choosing the looper that is right for you depends on experience, performance needs, and other factors. There are two basic directions you can go in:
1. Hardware (pedals, pedalboards) I use Boss loopers but there are lots of other options if you want to do the research
2. Software (using an app or computer software)
Option 1 requires amplification of your instrument, which means also having a mic or pickup and headphones or amplifier as well, or an electric instrument. Option 2 requires a phone, tablet, or computer and perhaps a decent pair of headphones to be effective. Both have learning curves and pros and cons. Apps tend to be highly customizable, but there are plenty of high end pedal boards that have lots of options included. In my opinion much of the purpose of using loopers in one's practice is to understand musical structures, grooves, and to develop better rhythm and rhythmic vocabulary. The benefit of having a pedal or pedalboard is that the foot doesn't lie.
Here are a few good options for pedals:
The BOSS RC-1 is a simple stomp box and ideal for those with little experience using a looper. Not many bells and whistles, but can be expanded with a footswitch. Great for you if you don't want to navigate new technology but cons are that you cannot save your loops and there are no percussion or backing tracks built in. (Compare against the RC-3 and the RC-5)
The BOSS RC-5 is compact but robust. It allows up to 99 preset or saved loops so you can come back to a groove you created later, as well as use the built-in drum tracks and rhythm presets. Lots of features in a small space, so great for practice and practical for gigs.
The RC-30 has been a favorite for years but BOSS discontinued production. It allows two parallel loops for more intricate arrangements and has built in beats. You may be able to find a used pedal locally. BOSS replaced the concept with the RC-500
The RC-300 has been a commonly found multi-track looper, however BOSS discontinued production in favor of the RC-600. It can still be found used. This looper has all the features the RC-30 has but allows three separate tracks, each with their own dedicated foot pedals, making complex layers with multiple instruments easier. It also has built in effects.
Another option is the RC-500
which gives you plenty of options with 2 loop tracks, built in effects and drum beats, and a memory bank where you can save your loops for later. Not too big, not too small. The Goldilocks of Boss loopers?
In the end... I recommend the RC-3 or RC-5 if you plan to just use it in a simple way to record a backing track for yourself, and the RC-500 if you plan on performing more complex arrangements or want more flexibility in the practice room and onstage (especially if you want drum tracks or effects!)
