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[Hayden J Nebus]

I am putting together a full tilt input wishlist for an upcoming (year or two) purchase. I know what most riders have on them,  but I'd love to hear opinions and make sure my personal preferences aren't too far off norm.

Things Im planning to spec:
Beta52
D2 x 4
D4 x2
M88
421 x4
C451 x4
C414 x2
PCC 160 x4

Countryman 85 x6
Radial JDI x 6


pr20UT x8
pr30 x4
M80 x4


IMO the heil stuff sounds better than SMs/beta SMs at the same price.

Anybody out there who wont accept a pr20 over a 57-58? Pr30 over a 57-609? Or akg 451 over an 81?

Wireless will be a next-gen shure pro package combo 10pack with 58 handhelds and E6/ mke2 lavs

Anything I'm missing?
Any dealbreakers?

[Lee Brenkman]

In YOUR opinion the Heil vocal mics sound better than the Shure SMs and Betas.

But your thread title says "rider friendly" and regardless of your opinion you need to have at least six to twelve Shures in your inventory.

Just having the 58 heads on your wireless hand held systems won't suffice.  There are some performers who's hands you just won't want to put an expensive wireless into.

As a touring mixer  there are several singers I work with for whom I would NOT accept a PR20 for instead of an SM58.

Putting on my "house guy" hat, I can tell you that there are  more   artists or their techs with strong preferences  for Heil, Audix, Neumann or Sennheiser vocal mics will bring their own then there are ones without their own mic  who will not accept an SM or Beta 58.

And I'm NOT a Shure brand cheerleader.  There are several microphones I would prefer to use on a kick drum over a Beta 52.   Happily for me there are three of them on your list.

[Hayden J Nebus]

6x 58s isn't an issue. that and some 57s is just about all of the existing house kit, but it's already in stock.

I don't wanna pry your 58 out of your cold dead hands, I just want some up to date mics for utility use that people will be happy to use. I took a liking to the pr series, I know they are growing in popularity. And you didn't say you hands down have to have a 57, so i may be on to something.  

I also have another fully stocked house in town that I can share mics between, so the idea is to have this package support most road shows as well as some give and take between venues as needed.

like it or not, the beta52 is on a lot of riders. It's also something I'm currently lacking, and rounds out my selection of large diaphram dynamics between houses.


 

[Lee Brenkman]

if you already have the 58s and such available and you don't have to add them.

Most of the houses I work in have enough of them and I bring my own Audix, Heil, and assorted ribbon mics as needed.

Your original post implied, to me at least, that your were starting from scratch.

And yes, the 52 shows up on a lot of riders so it qualifies as "friendly".

But I wouldn't use it  

PS:  Have you ever opened up a Beta 52.  The grille is large, but the diaphragm isn't.

[Royce Covington]

firstly, if you are providing equipment 'for-hire' it doesn't really matter what YOU like, which means you may own alot of gear that you never actually use, yourself.

from a touring view-point, I carry everything that I prefer to use and anticipate needing.  beyond that, if I DO need anything from the house, I'm generally happy if 'it' works as expected.

from a house view-point, the list you provided would likely satisfy most acts NOT carrying their own kit.  however, I would suggest two-each beta 52s and beta 91s, as they are often used in combination.  also, since there are still a few double-bass drummers out there, it's a good idea to have two sets available.

myself, I would probably also add (4) beta 98s, (4) e906s and some vocal condensers.

bottom-line, you could spend a fortune on mics and still not be able to satisfy every client 100%.


R~

[Jim McKeveny]

On my fly-in one-offs I don't have time to check out new gear properly. I want to see "known quantities" in the mic package, especially voice mics. There are enough other variables to deal with.

I'd have some B87A/C heads available on the wireless, and if you are going to go for the E6 have the double-hook option available. MKE2's should be the sweatproof Golds or Platinums. Get inline preamps for some that allow their use as clip on string mics.

My .02.

[Jim McKeveny]

The B52 is ubiquitous, but really mediocre. There is a whole list of things I'd rather use including a plain 57.

[James Feenstra]

Add;
4 904
2 609
2 beta 91
6 sm58
6 sm57
1 beta 52

Remove:
2 421 (we have two in our mic kit and they haven't been used in at least a year)
Anything that's not sennheiser or shure unless you REALY like them

Why? Because 95% of riders will be satisfied with a sennheiser or shure kit, and if you've got a decent mix of the staples of both you'll be covered. Anyone who wants something different will more than likely be packing their own.

Audix and hiel are great and all, but most touring guys using a house kit want to see stuff they're familiar with, and for the most part that's sennheiser and shure. You'll see a much better roi out of those two brands than you will any other companies mics.

[Simon Ryder]

I use my 421s several times a week.

I tend to suggest them as replacements for 57s in brass and guitar applications.

They really are one of the best saxophone mics going.

I would leave them on the list.

(they make a much better kick mic than a d6 or a B52 as well)

I agree with everything else James Feenstra has said.

Oh yes, if you are playing in those leagues add a pair of AKG c414s.

[Jason J Raboin]

I would have to agree with other posters that if I need the mic to be anything other than a 57/58, I bring it with me.  

That said, I see no reason not to get a couple of mics of your choice, and offer them to visiting engineers as an alternative to the standard kit.

Maybe get 2 x PR35.  They can be used anywhere a PR30 can and are also great vocal mics.  

I would get:

1 x B52
6 x SM57
6 x SM58
4 x KSM137
4 x KSM32

2 x PR35
1 x PR40
4 x PR28 (I find visiting engineers generally aren't fussy about tom mics)

Wireless and Di's as you listed.

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