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drbluezz
New member
...Rode NT-3 or Shure SM-81? Thank you for your comments.
Tom
Tom
Washburn100
New member
Can't beat a Godin Multiac for great amplified acoustic sound!
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drbluezz
New member
Thank you for your response. But I think I need to set some other parameters to reduce the potential for confusion...I'm one of those uppity acoustic guitar purists, LOL. I don't use electrified acoustic guitars or amplifiers...I only mic my guitar, live or recorded. I should have mentioned that from the git go.
Tom
Shadow_7
New member
A few more parameters would be nice. SM-81 can solve a few live / stage issues (polar pattern / off axis rejection). But it has a relatively low SPL limit which could be equally problematic. Not to mention that your comparison is a different class of microphone. Do I power my laptop with a single 9V, or a car battery? Not quite the same thing, although both are mildly related.
mshilarious
Banned
Most of what you post about microphones is completely insane. SM81 has an SPL limit too low for live acoustic guitar? Exactly how does one play ac gtr at 136dBSPL (146dBSPL with the pad)? Do you put dynamite in your acoustic guitars? And how is the Rode NT3 like a car battery but the SM81 like a 9V? I mean, OK, the SM81 is transformer out, the NT3 has a PNP pair, but I doubt the end user cares that much. Sensitivity is within 5dB, noise about the same, polar pattern is the same, frequency response is supposedly roughly the same.
OP, the SM81 has been used by approximately 10 billion professional live sound engineers on acoustic guitar (and drum overheads, which are way way louder) for the last 30+ years. It will work fine. The Rode is a newer mic; it will also work fine. A competent engineer could make either mic sound great for live sound or recording. That said, every FOH engineer knows the SM81, so if you are worried about making semi-competent engineers feel within their comfort zone, you might select that one.
gecko zzed
Grumpy Mod
You are back?? Awesome!!
Yep, what mshilarious said.
If you want to consider other option for miking acoustic guitars live, you might also consider the Behringer C2. This is a cheap, but highly-underrated condensor. It is an excellent instrument mike in live situatins, because it can be driven quite hard without feedback, and preserves a lot of detail. The Shure SM57 is a commonly used instrument mike, but I use the C2 in preference all the time. The NT3 and NT5 (which I also use) are better quality mikes, but tend to be a little more difficut to control in live mixing.
Yep, what mshilarious said.
If you want to consider other option for miking acoustic guitars live, you might also consider the Behringer C2. This is a cheap, but highly-underrated condensor. It is an excellent instrument mike in live situatins, because it can be driven quite hard without feedback, and preserves a lot of detail. The Shure SM57 is a commonly used instrument mike, but I use the C2 in preference all the time. The NT3 and NT5 (which I also use) are better quality mikes, but tend to be a little more difficut to control in live mixing.
darrin_h2000
Banned
I might mention that the piano parts that Jim Stienman did on "Bat out of Hell" was done with 2 SM81s
Shadow_7
New member
SM81 specs at 125dB. About all the pad does is raise the noise floor.
(or at least mine did)
(I was able to make them clip on an unamplified trombone)
I guess I shouldn't post while drinking. For acoustic guitar it should be fine. For amplified acoustic guiter (thread title), implying guitar cabinet / pa / speaker system, that limit would be easy to crest with proximity. But alas, I miss understood the OP. Mainly because micing and amplifying are two different things. Sorry I misunderstood the OP (and was drunk). There are situations where that limit could easily be crested, but it depends on the ensemble. Large jazz band on a small stage with acoustic guitar? vs. Micing an UNamplified SOLO acoustic guitar.
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drbluezz
New member
The fault for any misunderstanding was likely mine. What I meant by my post was, more specifically, what would be some of the best mics within the price range stated ($250-$350) to mic a live performance (non-electrified) acoustic guitar in an all acoustic bluegrass band? This is given the guitar player has his own instrument and vocal mic. There...have at it!
guitar junkie
Guitar User.
I use 57s most of the time because venues will have them... I have them in my tech rider just because most sound companies have them on hand.
If it's my own show and my own live sound gear I will use a MXL 991 or 990 which sucks for studio but works well enough for live.
If it's my own show and my own live sound gear I will use a MXL 991 or 990 which sucks for studio but works well enough for live.
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omtayslick
New member
The SM81 would be good for your purpose. I never really cared for the Rodes. They sound a little tinny to me. But also look into the Audio Technica 4033. A lot of bluegrass guys love them for live micing.
I own and use an Sm81 on my Martin D35 and it delivers the goods. I've also used the 4033. I like 'em both.
I own and use an Sm81 on my Martin D35 and it delivers the goods. I've also used the 4033. I like 'em both.
Shadow_7
New member
The SM81 is a fine mic. In a studio and controlled situation, you really can't beat it for the money. BUT.... For live performances, if you take that mic outside (the first thing that comes to my mind when one mentions blue grass), and throw in other factors like riding on a moving parade float. That mic can be one of the most hideous things ever contrived by man. Very sensitive to handling noise (bumps in the road), very sensitive to wind noise. For live you're probably looking at more of a compromise than the best possible for this instrument in a known situation.
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drbluezz
New member
VERY good points. We will be playing outdoors and possibly on some low quality, noisy, stages...like flat bed trucks? Perhaps the SM-81 would be overkill or almost too good? Perhaps I should take a second look at an AKG perception 170??? I seem to be going in circles, LOL!
Tom
darrin_h2000
Banned
Likely most condensers will have issues with the outside and vibrations...that is what Piezo pickups are good for.
You need to have a deadcat for the wind...and shockmounts for the handling noises.
pohaku
New member
Outside? Low quality, noisy stages? I'd consider an SM-57 with a foam windscreen. Shure makes a foam windscreen that clips on the SM-57. Mine work just fine for that application.
http://www.amazon.com/Shure-A2WS-Foam-Windscreen-SM57/dp/B000Z08U7U
Not as hifi as a condenser, but you really don't want all that stage noise to be rendered in hifi either.
http://www.amazon.com/Shure-A2WS-Foam-Windscreen-SM57/dp/B000Z08U7U
Not as hifi as a condenser, but you really don't want all that stage noise to be rendered in hifi either.
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omtayslick
New member
in a little row
New member
been waiting for a good chance to post on this mic...ive been using the new Blue encore 200 live and it is terrific, both as a vocal and instrument mic...i use it in the studio a bunch too...
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sdelsolray
Active member
The fault for any misunderstanding was likely mine. What I meant by my post was, more specifically, what would be some of the best mics within the price range stated ($250-$350) to mic a live performance (non-electrified) acoustic guitar in an all acoustic bluegrass band? This is given the guitar player has his own instrument and vocal mic. There...have at it!
Octava MC-012 with hypercardioid capsule. Have the mic amp modded to improve things slightly.
Shadow_7
New member
It's not so much that the SM81 has a low SPL as it is that the character of the mic completely changes when you encroach upon that limit. And when you crest it, you get sort of a hard limiter / clipping effect. Could be something with my converters / preamps, but my STO-2's don't parallel those attributes. You can crest that SPL on guitar if you use it like a drum with proximity to the mic, which some people do at times.
For my uses a brass ensemble of 9 or less horns was fairly safe. Double that and you've encroached upon or crested it's SPL limits. With proximity (< 10 yards). A fine mic for some situations, stringed instruments in a studio. But for things like drum overheads, not my pick of the week. Or outdoor ambience. Or rigged up to anything that moves. Otherwise a nice mic. Yes you can handle some of that with shock mounts and dead cat windscreens and other things. But then your live pesentation is a guitar player with a tickle me elmo gnawing at his ......strings......
