The Neumann mic in question was the Neumann KMS-84i. I have one. pretty damn nice, but not very robust. It was Tony Benett's mic of choice.
Side trip:
I had a Gefel M900 on demo for a while, which was a large diaphragm direct address condensor mic, which (along w/ the hypercardidoid version) was fairly flattering and detailed. It was certainly more durable than the KMS-84i, and sounded pretty good on a wide range of voices and instruments...I liked it on woodwinds, especially flutes.
Back to the topic: I used to do sound for a prominent folk act ages ago and would bring a small collection of mics and 2 API 8MX2's mic pre racks which I would patch into the channel inserts of whatever desk the venue had. I still use the ATI's as my mic pre's in portable rig.... great sound, robust construction.
Still..... talent is far more valuable than gear. A good musician is always going to sound like a good musician. A good mixer can always get something to sound good.
Danny
Quote:
Originally Posted by vitreouswindows  A detailed handheld such as a Schoeps CMCH64 or an early Neumann handheld (KMS105 - not sure of the number, but it was basically a KM84 Neumann made happen as a handheld); clean detailed pre - take your pick (many to choose from, and needn't be wildly costly); speakers that you know will be exacting - Meyer, Nexo, ATC.
That said, you can have all of the gear components, but the room will play a large part in the overall sound. The previous posts that have noted the importance of the skill(s) of the persons running the equipment - I would corroborate the significance of those perspectives.
I recall visiting with the fellow that used to do some of Elvis's live gigs in the '70s and the reason E went with him is because he used studio-type set-ups, thus boosting the clarity. I suspect that which allows for greater nuance will serve what you're seeking. Best of luck. |