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Author Topic: ensemble mic  (Read 4018 times)

Weogo Reed

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ensemble mic
« on: July 30, 2017, 09:45:20 am »

Hi Folks,

Looking for a mic:

I'm doing a bunch of 10~20 voice choirs, and Bluegrass and string band ensembles.
For these showcases one mic can work quite well.
(And yes, I'm adding a solo instrument mic, and Bass mic, as needed.)

For audio quality, I like the Earthworks cardioid.
Good sound, picks up well out to the sides, and isn't a feedback magnet.
It is about 9" long, and visually I would prefer a side-address mic.
The Earthworks FlexMics are in consideration.

I've also been using the Rode M5 for this application.
It is fairly small, needs a shockmount, and
a right-angle XLR helps minimize the length.

This past week I worked with the Ear Trumpet Labs Edwina mic in two different venues.
It picked up some foot tapping, so I used an On-Stage-Stands MY325 shockmount clip with it.
Fairly wide pickup pattern, and very good sound, with just a few notch filters.
There are some ETL models that are a little wider than the Edwina.

If a Shure SM58 is considered to be a nominal 120 degree pattern:
from my experience, the M5 is about 140 degrees, Edwina 150 degrees and Earthworks 160 degrees.

/////////////////////////////////////
I also got to use the Ear Trumpet Nadine String Bass mic.
Easy to mount, very good sound.
In 27 years of mixing I don't think I've heard a better mic installed on a Bass.
(The Bass playing mic owner still has a pickup installed for really loud gigs.)

The Ear Trumpet mics have fairly quickly developed a following.
Many musicians find them very attractive.
I'm curious to see how they hold up over time.
/////////////////////////////////////

For side-address, wide-cardioid mics, are there any long-term durable,
very good sounding options with consistent off-axis frequency response,
that cost less than the ETL Edwina, or slightly wider Louise, or Earthworks FlexMic? 

It would be nice if more folks listened with their ears, not their eyes...

Thanks and good health,  Weogo
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Mike Caldwell

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Re: ensemble mic
« Reply #1 on: July 30, 2017, 11:40:06 am »

For single mic bluegrass and choirs I have been using the older original CAD E100, they are not a wide cardioid though but more of what I would call a "tight cardioid" in actual use even though on paper it's called a super cardioid.

Not sure what the new reissue version is like.

For what it's worth they kind of have a retro look to them as well.
« Last Edit: July 30, 2017, 03:09:04 pm by Mike Caldwell »
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David Hoover

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Re: ensemble mic
« Reply #2 on: July 30, 2017, 11:51:23 am »

I like the Shure KSM 137 for a lot of things like this.  We also have had good results with the SM81, but the 81's lack a little bit if detail and realism in comparison.  In a situation where feedback is a problem, I've used Heil PR35 mics on Choir with good results.  Now, I've only heard recordings and surround sound recordings (I don't have experience) with the Audix SCX series, but they sound excellent for the price and people love them.  They have a pencil condenser and a medium diaphragm "lollypop" mic.

Sent from my Nexus 6P using Tapatalk
« Last Edit: August 07, 2017, 12:26:36 pm by David Hoover »
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Lee Buckalew

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Re: ensemble mic
« Reply #3 on: July 30, 2017, 05:00:09 pm »

Hi Folks,

Looking for a mic:

I'm doing a bunch of 10~20 voice choirs, and Bluegrass and string band ensembles.
For these showcases one mic can work quite well.
(And yes, I'm adding a solo instrument mic, and Bass mic, as needed.)

For audio quality, I like the Earthworks cardioid.
Good sound, picks up well out to the sides, and isn't a feedback magnet.
It is about 9" long, and visually I would prefer a side-address mic.
The Earthworks FlexMics are in consideration.

I've also been using the Rode M5 for this application.
It is fairly small, needs a shockmount, and
a right-angle XLR helps minimize the length.

This past week I worked with the Ear Trumpet Labs Edwina mic in two different venues.
It picked up some foot tapping, so I used an On-Stage-Stands MY325 shockmount clip with it.
Fairly wide pickup pattern, and very good sound, with just a few notch filters.
There are some ETL models that are a little wider than the Edwina.

If a Shure SM58 is considered to be a nominal 120 degree pattern:
from my experience, the M5 is about 140 degrees, Edwina 150 degrees and Earthworks 160 degrees.

/////////////////////////////////////
I also got to use the Ear Trumpet Nadine String Bass mic.
Easy to mount, very good sound.
In 27 years of mixing I don't think I've heard a better mic installed on a Bass.
(The Bass playing mic owner still has a pickup installed for really loud gigs.)

The Ear Trumpet mics have fairly quickly developed a following.
Many musicians find them very attractive.
I'm curious to see how they hold up over time.
/////////////////////////////////////

For side-address, wide-cardioid mics, are there any long-term durable,
very good sounding options with consistent off-axis frequency response,
that cost less than the ETL Edwina, or slightly wider Louise, or Earthworks FlexMic? 

It would be nice if more folks listened with their ears, not their eyes...

Thanks and good health,  Weogo

I was with you until, costs less than the Edwina.   :D

I'll still throw this out there as occasionally they show up in used gear sales. 
DPA 4015 TL. 
A superb sub-cardioid.

Lee
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Lee Buckalew
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Weogo Reed

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Re: ensemble mic
« Reply #4 on: July 31, 2017, 11:27:54 am »

Hi Mike,

The E100 is a good sounding and looking mic, but too narrow for the choirs.


David, the KSM137 is another nice mic, but I'm really looking for side-address, same for the PR35.
If the Audix SCX25A was available in a wide-cardioid, it would definitely be on my list.

Lee, I'm sure the 4015TL is a great sounding mic, but again, am looking for side-address.


Do any of the modest-budget mics with continuously variable pattern have consistent off-axis response? 
I looked at the CAD M179 and the polars vary widely.

Thanks and good health,  Weogo
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Rick Earl

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Re: ensemble mic
« Reply #5 on: July 31, 2017, 02:38:45 pm »

If it is a single mic situation -  or even a few, I am still partial to ribbons.   I've had them on the same stage as ETL, Rode, Shure, AKG, and LDC side address mics at the same festival. (We did a shootout).
Although the AEA R84 was my favorite, the Cascade Fat Head performed very well.    The figure 8 pattern is very even across the spectrum, they are warm and clear and have a wonderful "slope" to the proximity effect as people move into and around the mic.   The least amount of EQ needed and same gain before feedback of any mics used.  I would like to try the AEA R92 as it has a reduced proximity effect which would allow performers to get a bit closer.  I've used them succesfully on String Quartet, but they were not available at the time of our shootout.  The best performing LDC (IMHO) was the Shure KSM-32, again very little eq needed and the most natural sound of the lot.  One band's Edwina was DOA, although they said it worked fine the night before.
I use ribbons regularly in live situations, with up to 8 so far on stage, including a sax section in a big band.  With proper placement and I've had no GBF or bleed issues that were worse than other methods.
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Tim Barber

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Re: ensemble mic
« Reply #6 on: July 31, 2017, 03:05:17 pm »

For a very inexpensive mic, I have had good results on small bluegrass ensembles with the AT2035.
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Helge A Bentsen

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Re: ensemble mic
« Reply #7 on: July 31, 2017, 05:53:56 pm »

+1000 on the DPA 4015.

Also an amazing drum overhead due to the way the proximity effect is tuned on that microphone.
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Lee Buckalew

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Re: ensemble mic
« Reply #8 on: July 31, 2017, 06:10:30 pm »


Lee, I'm sure the 4015TL is a great sounding mic, but again, am looking for side-address.


Oops, missed that part.
There is a compact version that would allow for a very compact look with a 90 degree connector.
Schoeps has some very nice wide cardio options as well and accessories allowing for a 90 degree capsule mount but also probably higher cost than you are looking for.

Lee
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Mike Caldwell

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Re: ensemble mic
« Reply #9 on: July 31, 2017, 08:50:51 pm »

Hi Mike,

The E100 is a good sounding and looking mic, but too narrow for the choirs.


Do any of the modest-budget mics with continuously variable pattern have consistent off-axis response? 
I looked at the CAD M179 and the polars vary widely.

Thanks and good health,  Weogo

For choirs with any size to them I'll put up at least two or three of the E100's

The CAD M179 is shockingly good mic for little money that has a completely variable adjustable pattern.
I have one of them that works well on bluegrass, never tried on it a choir. Forgot to mention the M179 in my earlier post.

If there looking for that retro look the M179 has that as well.
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