Don Quixote Mic Selection

  • Thread starter Thread starter drstawl
  • Start date Start date
drstawl

drstawl

Banned
Now that I've dabbled around with real cheap dynamic mics and semi cheap condenser mics for both "studio" [read: living room and/or bedroom] and live applications, I've noticed that the better mics approached or surpassed (depending on your POV) their level of usefulness in live applications. With that in mind it seems that several cheap(er) dynamics and decent pres would be what's required at a live venue where ambient noise was objectionable. So: how do you get the high detail of the better mic while rejecting the rude background noise or is that an impossible dream?
 
"high detail of the better mic"

What mics are we talking about? Neumann KMS 140/150s? Neumann KMS 105s? Shure Beta 87s? Sennhieser MD431 IIs? Sennhieser MD 425s? Shure Beta 58?

How about instrument mics? Shure SM57s? Audio Technica AT4041s? Shure SM81s? Crown CM-700s? Oktava MC-012s from The Sound Room? Sennhieser 421s? Sennhieser E609s? Sennhieser E602s? Audio Technica ATM25s? Audio Technica Pro25s? Audio Technica ATM23HEs? AKG D112s? Shure Beta 52s? Electro-Voice N/D868s?

Or are we talking about mics for recording a live performance?
 
Doc,
I assume you are asking how to use the more "sensitive" mics for live applications. From my experience, if you want to use these better mics, you need to have a better PA system. You need better control your sound, and with the propper power, speakers, and processors, you can reduce background noise and feedback. More importantly, you need to have control of your stage volume. If the band is playing too loud for the venue, you will never be able to use the sensitive mics, there will be too much bleed over in the microphones. While using the better mics for shows is not imposible, you must control your environment much like a studio.
 
Aw c'mon, doc, get honest - how useful has this thread been? If it'd been me, I wouldn't have learned much from this. But then, that's me. :)
 
Well I didn't understand what he was trying to say and/or ask. Sorry.

Also, Fishmed, I don't understand the problem with using these better mics. I don't know what you consider a better PA system, but I know mine is not anything great; it good enough for what we do.

Mixer: Mackie 1604-VLZ PRO
Main Amp: Mackie 1400
Main Speakers: 2 Peavey 2-Way 15"
Monitor Amp: Mackie 800
Monitors: 4 Hotspots
Compressor: dbx 266
FX: Lexicon MPX 100

And for "bigger gigs"

Another Amp: Mackie 1400
More Speakers: 2 full range Traynor speakers in 2 custom scoop cabinets; sometimes use them as subs instead of full range
 
Fishmed got straight to the heart of my question; thanks, man.
What I really want is control of the trade-off made when I have no control of the actual sounds being produced but a limited amount of "an expectation of control" in the levels available wherever the mics are placed.
I just auditioned a cassette tape recorded at the same time/place I was using 2 Rodents into a TASCAM CDRW-5000.
He used three crappier mics through a small Mackie mixer but it came out fairly nice.
Much less background noise; better balance of the whole band's sound. Three things it lacked were the in-your-face "open" characteristic of the sound in this large enclosed space (an old converted church), the hotter levels I was able to get direct to CDR and the drums had a lot more thump and sizzle on the CDR.
Like a fully manual camera
(just got a nice old one BTW-
new cat pictures at my website)
allows you to compensate for lighting deficiencies in a number of ways to produce the perfect photograph.
I'm looking to understand all of my options in deploying the mics I have or will purchase in the future to obtain the best possible recording under a variety of conditions.
So the information that is most useful to me would be directed at explaining what each technique does to/for the recording.
Advice phrased as: do so and so and get the best sound just seems too subjective.
 
RE: You mentioned that dbx 286 compressor as part of your PA system . Do you compress the whole mix, sub-mixes or just individual inputs?
 
I usually use the dbx 266 just to add more sustain and bring-out to my brother's acoustic guitar from the mix; which really likes to get drowned-out at the peaks.
 
For example, one time <many, many years ago> I used a Beta 87 for the main vocal. I was actually recording the performance at the same time to an 8-track. The whole night I was having trouble getting the vocals above the instruments. It turned out that when I was listening to the recording was that the Beta 87 was picking up many of the instruments, some as much as the vox. Many times I have used an SM58 for vocals live while recording, and I did not have as much trouble.
Now about PA... If you have the right speakers and power you can reduce the feedback. Many times I had to work with less power than I should have had. I would end up pushing the amps to the point that I had very little control of the sound. Times when I had enough power I was able mix the band through the main above the stage noise. I would have to say that the bands performance has a big impact on how well the PA will perform. If they play loader than what the PA can handle, well then they are up the creek if they think they are going to get a good mix. Basically bands need to adjust their playing to the PA and venue... some people are just not willing to make that compromise.
 
"Basically bands need to adjust their playing to the PA and venue... some people are just not willing to make that compromise."

Oh how I agree so much to that statement.

But what I don't understand is:

"If you have the right speakers and power you can reduce the feedback."

How can this be? How can whether or not the speakers are getting enough power be a factor in regards to feedback?

Sorry, but I'm just completely blind right now. What am I not understanding?
 
You must log in or register to reply here.
Back
Top