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Author Topic: ensemble mic  (Read 4293 times)

Dan Richardson

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Re: ensemble mic
« Reply #10 on: August 02, 2017, 03:16:35 pm »

It's counter to all your criteria, but my go-to mic for those situations is the Rode NT4. Stereo is extremely useful.
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Weogo Reed

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Re: ensemble mic
« Reply #11 on: August 05, 2017, 01:05:24 pm »

Hi Rick,

I don't see how a single bi-polar(figure-8) pattern mic would pick up well from the sides??
The noted DOA mic is my major hesitation to go with a 'boutique' brand...
A few years ago a small Bluegrass band was carrying a KSM32 that worked well for them.

Tim, the AT2035 looks like a good mic. 
I have a 4033A which works ok, but I want a little wider pattern.
The 4033A certainly looks 'right'.

Lee, at 2.5", the DPA 4015C version is a pretty short little mic.

Mike, thanks for the Cad M179 comments.

Dan, a benefit I see possible for a stereo or two cardioid mics instead of a single wide-cardioid is picking up less sound from above, for instance a central speaker cluster.
 
Anybody using the Shure Beta181/C cardioid?
Is it a standard cardioid pattern?

I contacted Audix and the SCX25A is indeed a wide-cardioid so am hoping to have a chance to try one.

One more question:
For top-quality wide-cardioidd mics, will a small diaphragm have better off-axis response than a large diaphragm?
Better low end from a large diaphragm?
For wide-cardioid mics, any other notable differences between small and large diaphragms?

Thanks and good health,  Weogo
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Mike Caldwell

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Re: ensemble mic
« Reply #12 on: August 05, 2017, 03:18:39 pm »

Just for reference the AT 4033 is at the most a medium diaphragm condenser. Not that it makes it good or bad.
« Last Edit: August 06, 2017, 02:22:55 am by Mike Caldwell »
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Dan Richardson

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Re: ensemble mic
« Reply #13 on: August 05, 2017, 03:35:09 pm »

Dan, a benefit I see possible for a stereo or two cardioid mics instead of a single wide-cardioid is picking up less sound from above, for instance a central speaker cluster.

Gives you a chance to do active mixing in the event that the group isn't balanced correctly, for whatever reason.
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Rick Earl

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Re: ensemble mic
« Reply #14 on: August 05, 2017, 10:34:15 pm »

Hi Rick,

I don't see how a single bi-polar(figure-8) pattern mic would pick up well from the sides??
The noted DOA mic is my major hesitation to go with a 'boutique' brand...
A few years ago a small Bluegrass band was carrying a KSM32 that worked well for them.

Even a cardioid mic drops off on the sides, and you'll find most good ribbons have a much more consistent polar pattern across all frequencies.  Plug a mic in and listen to it through headphones as you rotate it, polar patterns are not created equal. The KSM series overall has a nice smooth response out to the sides, as well as the AEA, the AEA starts to fall off 60 degrees off axis, but the response of the KSM also starts to shift at that point too. 

http://www.ribbonmics.com/sites/default/files/pdf/aea_R84_Technical_Onesheet_5-19.pdf
http://cdn.shure.com/specification_sheet/upload/35/ksm32-specification-sheet-english.pdf
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Dan Richardson

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Re: ensemble mic
« Reply #15 on: August 06, 2017, 11:58:17 am »

Have you considered the Aston Origin?
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David Hoover

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Re: ensemble mic
« Reply #16 on: August 07, 2017, 12:39:52 pm »

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
Pencil condensers will be best for your situation unless you have good money, but of the mics I have used, an SM27 is a good workhorse mic for this.  Also, the CAD M179.  They are good budget mics.  They lack a little detail in comparison to a pencil condenser in the same price range.  For example, a BETA98 sounds almost the same as an SM27, but has much greater transient response.  It sounds more real. Of course an Audio Technica C414 is gonna be really good and I recommend that. The BEST mic I've heard and used extensively for this sinereo is the DPA 4011 mics.  Fantastic.  In my opinion if you want a side address for looks or something, be more open to other options that sound good unless you want to spend $600 plus on a good side address large diaphragm mic.  Just my opinion based on what I hear.  With dynamic mics or large diaphragm condensers, you need to Shell out more money to get as much detail in the sound as a pencil condenser.

My last recommendation for side address is the KSM32.  It's $550, but worth every penny.  It has a medium sized diaphragm and sounds pretty transparent for the price.  Also, this mic can be used on almost anything with great results.  It's used in stereo for some orchestral recordings because it sounds natural.

Sent from my Nexus 6P using Tapatalk

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Weogo Reed

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Re: ensemble mic
« Reply #17 on: August 10, 2017, 03:15:05 pm »

Hi Mike,

Yep, I'm aware of the 4033A's  .49" diameter capsule.
Am guessing some of its useful performance is attributable to this.

Dan,
The two-channel mixing capability of the NT4 is indeed a plus.
If Rode removed the battery compartment and turned the elements 90 degrees I would buy this mic.
Heck, if they just turned the head 90 degrees I would buy it.

This is the first I've heard of the Aston Origin. 
Fairly effective internal shock-mount, modest price.
Am going to investigate further.

David,
Thanks for noting the SM27.
Did you mean AKG C414?
On a wide, shallow stage, would you prefer a 4011 over a 4015?
The KSM32 gets thumbs up for this use from several reviews.
I am considering more expensive mics, and would appreciate a budget option if there was one.

Thanks and good health,  Weogo

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Lee Buckalew

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Re: ensemble mic
« Reply #18 on: August 10, 2017, 03:34:51 pm »

Hi Mike,

Yep, I'm aware of the 4033A's  .49" diameter capsule.
Am guessing some of its useful performance is attributable to this.

Dan,
The two-channel mixing capability of the NT4 is indeed a plus.
If Rode removed the battery compartment and turned the elements 90 degrees I would buy this mic.
Heck, if they just turned the head 90 degrees I would buy it.

This is the first I've heard of the Aston Origin. 
Fairly effective internal shock-mount, modest price.
Am going to investigate further.

David,
Thanks for noting the SM27.
Did you mean AKG C414?
On a wide, shallow stage, would you prefer a 4011 over a 4015?
The KSM32 gets thumbs up for this use from several reviews.
I am considering more expensive mics, and would appreciate a budget option if there was one.

Thanks and good health,  Weogo

Weogo,
We have also used the Neumann TLM 102 or 103 quite successfully for choral groups.  Quite a bit lower in price than the Schoeps or DPA options we sometimes use.

Lee
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Tim McCulloch

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Re: ensemble mic
« Reply #19 on: August 10, 2017, 03:56:08 pm »

Weogo,
We have also used the Neumann TLM 102 or 103 quite successfully for choral groups.  Quite a bit lower in price than the Schoeps or DPA options we sometimes use.

Lee

The TLM103 seems a little wider than many LDC.  Had an artist supplied 103 last night on a *pair* of guitar amps.  Worked surprisingly well in that application.

I've used the 103 for choral recording and been very happy with the outcomes.
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