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Author Topic: Need recommendations: cardiod condenser even going to work, and if so which one?  (Read 6551 times)

g'bye, Dick Rees

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AT 2010- looks like a vocal mic with the same element as the 2020. Decent rejection to the rear but with a pattern that will pick up a couple of players. I have a bunch that you could borrow.

If you want to stick with the usual suspects of dynamics, I have used a side arm to stick two mics on one stand mimicking the feel of the one mic.

If this horse isn't dead already, I'm going to keep beating it until it is.

Unless the selected microphone as a "reflected room sound" roll off, the choice of which one you use is pretty much moot.  Any time I've had to set up anyone in front of a wall of glass, soloing the mic would let me hear everything in the room......musicians, wait staff, the people at the table behind me etc/

Sigh......it was such a good old horse......
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Jay Barracato

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If this horse isn't dead already, I'm going to keep beating it until it is.

Unless the selected microphone as a "reflected room sound" roll off, the choice of which one you use is pretty much moot.  Any time I've had to set up anyone in front of a wall of glass, soloing the mic would let me hear everything in the room......musicians, wait staff, the people at the table behind me etc/

Sigh......it was such a good old horse......

Sometimes you do what you have to do. Putting a couple of heads in front of the mic while playing will help a lot. The two knuckle ducker between songs will help as well.

I really agree with you. My point is don't go buy a mic for the dead horse job, I have a bunch that will work as good as anything and I am close enough to make an easy loan.

Sometime I will tell you about the Irish bar with the floor to ceiling plate glass behind the stage and an honest 100 db of bar chatter on stage before the system was even turned on. Turn it on make it sound better than the last guy, take your check and go home.
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Jay Barracato

Bob Leonard

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If this horse isn't dead already, I'm going to keep beating it until it is.

Unless the selected microphone as a "reflected room sound" roll off, the choice of which one you use is pretty much moot.  Any time I've had to set up anyone in front of a wall of glass, soloing the mic would let me hear everything in the room......musicians, wait staff, the people at the table behind me etc/

Sigh......it was such a good old horse......

OK, so do you think there will be much reflected sound old paint?  ;D
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BOSTON STRONG........
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I did a gig for Otis Elevator once. Like every job, it had it's ups and downs.

Tim Perry

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I'm going to be providing for an old time duo that between them will be playing clarinet, washboard, vocals, ukulele, melodica, kazoo, guitar, banjo, ukulele and mouth horn (although not at the same time).  They've requested a single cardioid mic, but I wanted to get some suggestions on the basic idea before moving on to recommendations for a specific mic.

The event will be a musicians' VIP reception so there will be a lot of networking and a lot of crowd noise with the performance area in an alcove with a floor to ceiling window, so I'm a little leery of the single mic idea.

If this is a viable idea, then which mic in the up-to-$250-range do you recommend?  Rode NT1-A, AT2035, AT2050, others?

None of the above as with a single mic they will be using it for vocal / announce too. 

beta 57, 57, 58 or beta 58.   

try a beta 57 if you can... you will be surprised. 

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g'bye, Dick Rees

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None of the above as with a single mic they will be using it for vocal / announce too. 

beta 57, 57, 58 or beta 58.   

try a beta 57 if you can... you will be surprised.

That's kind of what I was thinking, given the type of performance and the space.  A couple of 57's or 58's arranged however gives the best ratio of performers to room noise.  We used to use a pair of 58's in an X/Y config a lot of times in lieu of a "single mic" set up.
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Kirby Yarbrough

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A couple of 57's or 58's arranged however gives the best ratio of performers to room noise. 

That's what I was thinking as well: an SM58 for each performer for vocals and the elevated instruments, then an SM57 or Beta57 lower down for each performer.  Heads and bodies will hopefully block a good bit of the reflections off the glass wall.
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g'bye, Dick Rees

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That's what I was thinking as well: an SM58 for each performer for vocals and the elevated instruments, then an SM57 or Beta57 lower down for each performer.  Heads and bodies will hopefully block a good bit of the reflections off the glass wall.

The glass wall would be less of a problem if it wasn't in an alcove as well.

You might also want to keep your thickest foam filters handy.  Every little bit helps.
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Kirby Yarbrough

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Tried the single LDC: it actually worked, got usable gain, only had to do a couple of PEQ cuts and a LPF.  Here's a pic of the performers at soundcheck.  Guitar, clarinet, a selection of washboards and two vocals.
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