Need a really inconspicuous microphone?

[d_fu]

Try an Audix M 1290... I discovered these mics at this year's Frankurt fair. Probably the smallest mics with exchangeable capsules (omni, cardioid, hyper) and a bunch of accessories like long extension tubes.

I was lucky to find the hypercardioid version on ebay for a third of the regular price recently. I've since used it three times as spot mic for a vocal soloist, a harpsichord (see attached pic of a somewhat crazy setup of flying mics...) and a flute. The sound is clear and neutral, and mixes well. The nominal self-noise is not very low at 20 dB(A), but as opposed to my attempt to use an Earthworks SR-78 as a harpsichord spot, the Audix does not produce noise that is audible against the background noise of a live concert situation, and I would say it's less than what I heard e.g. from the DPA 4091 in samples posted here. When listening very critically, it may be a minute tad noisier than other mics, but considering the fact that the signal is likely to be mixed at a reduced level, this should hardly ever be noticeable.

I have the impression that the mini hypercardioid may not separate lateral signals as well as e.g. an MKH 50 does, but it's something I can live with. On the other hand, a simple comparison against a Neumann KM 150 with RMAA seems to indicate it's actually got about 3 dB more bass response below 100 Hz...

I wonder whether the omnis or cardioids would actually be quiet enough for a stereo pair in an acoustic setup. They may be interesting for tapers though ( Dirk).

There are even smaller versions in length (1245), which are practically identical as far as the specs are concerned, except for less bass response. The mic comes in a wooden box, with a (so-so) clip and a cable with a mini-XLR on one side and a regular XLR on the other, about 3 meters.
The price is around $ 350, and about the same in Euros... Not cheap, but it may be nice to have one or two practically invisible little mics.

Daniel

PS: No, I don't work for Audix...

PPS: In case anyone is interested... The pic shows a recent recording of a Handel oratorio in a rather small church. Didn't want to place stands everywhere, so I flew three pairs of mics, KM131 main AB, AKG 451/CK3 for strings and also picking up trumpets and timpani on the left and continuo on the right, and AKG 480s with CK61 above the woodwinds, pointed at the soloists, also acting as choir spots...

[tnjazz]

Did you just refer to me as a "taper"?

Having micro mics in my usual rig won't make much difference with "Althea" (right) and/or "Bertha" (left).

Haven't quite figured out how to stealth with one of these yet.

[sonicdefault]

They should have just put a tube in it... (sorry, I just like sayin' that)

[pkautzsch]

The MicroBoom series seems to be exactly what I'm gonna buy next.
Anyone AB'ed them to Schoeps Colette?

That flying setup indeed looks crazy, Daniel

[d_fu]

Originally Posted by pkautzsch

Anyone AB'ed them to Schoeps Colette?

You can have the honour to be the first one to do so...

That flying setup indeed looks crazy, Daniel

I know... But it worked. And no one got hurt...

[mrsteaks]

Originally Posted by tnjazz

Having micro mics in my usual rig won't make much difference with "Althea" (right) and/or "Bertha" (left).

Haven't quite figured out how to stealth with one of these yet.

Nice racks! Not to be a "thread hijacker", but how do you like the Digimax and the 800R - and can you draw a comparison?

Daniel - thanx for the tip on the Audix - now I have ANOTHER mic to try out! Oh, and that "trapeeze" you had for the mics was indeed crazy! Loved it. Bet it took a while to rig that thing.

~~~~mark S.
Pretty Good Recordings

[0VU]

Originally Posted by pkautzsch

The MicroBoom series seems to be exactly what I'm gonna buy next.
Anyone AB'ed them to Schoeps Colette?

Yes. And DPA compact stuff, Neumann KM100 series, AKG C460/480 and Blue Line. But only in one set of circumstances - a very noisy stage using large numbers of close mics and sometimes difficult placement where the required balance is more light entertainment/movie soundtrack than a nice 'acoustic classical' balance.

One of the more entertaining jobs I regularly do involves recording for broadcast a variably large and somewhat unconventional classical 'event'. Normally involving orchestra, choir(s), multiple disparate vocal/instrumental soloists, organ, and little extras like rhythm section(s) and indoor pyrotechnics/fireworks, fairly large scale lighting/effects rig (the last one had more than 90 moving lights and an 8m x 4.5m LED screen), and pretty comprehensive PA/sound reinforcement (necessary partly to get the sound of the music audible above the noise of the lighting rig and partly because the client likes it). For these shows, most micing is generally shared between PA and recording; I can add some extra, more ambient, cover and audience mics but still have to take some of the PA mics if only to reduce the clutter and extra visual distraction on a fairly crowded stage. Thankfully, the PA company on the job is particularly experienced on this kind of large scale orchestral show and we've worked together on a lot of these shows now. They operate on the basis of doing the minimum necessary reinforcement to achieve the client's requirements without going mad and making the whole thing sound like a Metallica concert. Through their hard work, experience, understanding, and musical ability, a job which could be an all but impossible nightmare, becomes quite an enjoyable experience.

Anyway the PA company recently acquired quite a lot of these Audix mics and booms and we've shared them on several shows now, both as solo spots and on choirs. Placement is rarely ideal for me as it has to cater for the PA's requirement but with a bit of care is perfectly workable on what is definitely not a 'conventional' classical balance.

In the roles in which I've tried them, I'd describe the Audixes as functional and cost effective rather than anything sonically wonderful (in comparison to the bigger names). Their sound typically is thinner and scratchier than, for example, an MK4 or MK21/CMC on an RC extension tube. I generally find them fine in the close choir mic role (anything from 6 to 16 used very close to the choir(s)) but I prefer to get them swapped for something 'better' (normally Schoeps MK21s) on more 'up front' roles like solo spots. I usually use some more ambient micing for my main choir pickup but I take the close PA mics to help add definition when things get too loud/muddy sounding on stage or when I'm having to 'dig' for the choir amongst a noisy stage/over exuberant rhythm section and fireworks! In this application they're fine; the comparatively thinner quality of sound helps maintain clarity, they're not offensively bright and they do take EQ well when needed. Their sensitivity is good and I don't have a problem with their noise performance (but ambient noise can be much higher on these shows than would be normal for a classical concert and the mics are much closer than would be normal - I'd expect to find them rather noisy in a more 'conventional' classical rig). They do seem to be commendably free from RFI/EMI problems even though the stages on which I've used them are very electrically hostile environments and we do have occasional rare problems with Schoeps/DPA and Neumann extension tubes/cables; so far the Audixes have been trouble free.

Given the choice, I'd prefer Schoeps or DPA, even Neumann KM100 series, over the Audixes every time but they're very competitively priced for what you get and in most less critical circumstances, with a little extra work on the part of the engineer, can be close enough to the bigger names for them to be quite workable. In the absence of my preferred systems, I'd probably pick the Audixes over something like the AKG C460/480/Blue Line alternatives.

I'll be trying the new Sennheiser MKH8000s as soon as they get to the UK. It'll be interesting to see how they compare. I'm not a fan of the established MKH series but I'm always open to trying new toys and the new range as announced so far is a good start in offering an alternative to the more established systems, albeit not at any great cost saving. That is, assuming that it sounds ok.

[d_fu]

Originally Posted by tnjazz

Did you just refer to me as a "taper"?

Noooooo...
But I think you know some such individuals...

[d_fu]

Originally Posted by 0VU

Anyway the PA company recently acquired quite a lot of these AT mics

Any chance you might be confusing AT (4051/3 etc.) with Audix...?

EDIT: Ah, I see you've already corrected that...

Daniel

[0VU]

Yep, sorry - I've just been discussing a rig involving a bunch of AT mics whilst I was typing that post and I think I got the letters stuck in my mind; I definitely meant Audix. I hadn;t seen them before the PA guys turned up with them so they were a new experience for me. I have some Audix dynamic mics that I really like but I didn't know any of their condensors before these.

[d_fu]

Originally Posted by 0VU

Yep, sorry - I've just been discussing a rig involving a bunch of AT mics whilst I was typing that post and I think I got the letters stuck in my mind; I definitely meant Audix.

Which Audixes did you try, the 1290 Micro Mics?
While I've not made any direct comparison, I didn't find the Audix thin or scratchy at all. I probably wouldn't use them as a soloist's spot for a top performer, two of the tests I did were during third-rate university choir concerts... Nice opportunites to test new gear...
Actually, the mic (1290 HC) did sound rather pleasant on the flute (the concert even featured three different sizes of flutes within one piece), no trace of harshness or shrillness even with the piccolo.

I'm not sure whether I'd see the need to buy more of these at the retail price, but this one is nice to have ready when a really small mic is required and the sound should not be compromised.

Daniel

[0VU]

Originally Posted by d_fu

Which Audixes did you try, the 1290 Micro Mics?
While I've not made any direct comparison, I didn't find the Audix thin or scratchy at all. I probably wouldn't use them as a soloist's spot for a top performer, two of the tests I did were during third-rate higschool choir concerts... Nice opportunites to test new gear...
Actually, the mic (1290 HC) did sound rather pleasant on the flute (the concert even featured three different sizes of flutes within one piece), no trace of harshness or shrillness even with the piccolo.

I'm not sure whether I'd see the need to buy more of these at the retail price, but this one is nice to have ready when a really small mic is required and the sound should not be compromised.

Daniel

I just checked back against the mic schedules for a few of the shows to find that the mics were listed a mixture of MB1245, MB1290, MB1290hc and MB1290o so yes, all 1200 series Micro Mics. The 1245 seems to have a LF rollof at 80Hz which would account for it sounding a bit light in the low end but the others are more extended (to 40Hz, 40Hz and 20Hz respectively).

I think when I said 'scratchy' and 'thin' I might've chosen the wrong words. I don't find them particularly shrill/hard/bright sounding, just that they lack the more balanced/rounded/smooth sound of some of the others I mentioned. I guess it's not so much that they do what they do badly or unpleasantly (they don't), just that some of the other, admittedly much more expensive, competition does that little bit more and just sounds a little more, well, 'expensive'. As I said though, unless one is being really picky, with a little more effort in placing the mic, and a bit more EQ, they do a very creditable job and are both worthwhile and useable.

I'd also say again that my use of them hasn't been in anything like ideal conditions. On the shows I mentioned, mic positioning is quite heavily compromised, for all sorts of reasons, resulting particularly in relatively close placement and under more 'normal' conditions I wouldn't be surprised to find them sounding quite different. I've so far only been able to compare them in the circumstances described, against the other mic systems mentioned, also under the same operating conditions. I've tried them as solo mics, or should I say, the PA guys tried them as solo mics, on some good soloists including some internationally known violinists, singers (soprano, tenor, baritone), cellists and pianists, in addition to use on low visibility choir micing and various other positions in the orchestra and, apart from on the violinists and sopranos, they've been ok. I'm lucky enough to have a decent selection of low visibility/discrete mounting kits for my Schoeps, DPA and Neumann stuff so it's not a problem for me to swap out an Audix for something more 'polished' if it bothers me. However, if I didn't have that option, I could happily make the Audix mics work well enough that the client, and majority of listeners, would never be bothered by it. Especially if they didn't have the luxury of an AB comparison with something better. I guess that part of the reason for swapping them out when I do is also that I just find it easier/quicker to stick with the mics I know well.


There will always be times where, even if they lack a little of the finesse of their more expensive counterparts, their reasonable pricing means make it possible for more people to add to their facilities relatively specailist equipment which in some circumstances could enable them to put a mic where otherwise they might not be able to get one, and that'll make a far bigger difference to a successful recording than any pretty minor concerns over the finer points of the mics' sound. Their sound is good enough for them to be used in serious work and, if you take price into account, they can bring into reach the kind of micing that until quite recently would've cost a good deal more money or bumped up the hire budget on some shows quite significantly. If they make possible something one couldn't previously do, then that can only really be a good thing.

[tnjazz]

Originally Posted by mrsteaks

Nice racks! Not to be a "thread hijacker", but how do you like the Digimax and the 800R - and can you draw a comparison?

Daniel - thanx for the tip on the Audix - now I have ANOTHER mic to try out! Oh, and that "trapeeze" you had for the mics was indeed crazy! Loved it. Bet it took a while to rig that thing.

~~~~mark S.
Pretty Good Recordings

Like the Digimaxes but they are quite "colored". Warm and fuzzy is how I like to describe them, which is good for certain things (not so good for others). The Mackie is much more neutral sounding. Onyx pres are quite good and an excellent value IMO. I've been very happy with this unit as well. I think both units work quite nicely on drums and bass (which is what we use them for mostly), although in different ways.

Originally Posted by bdasilva

[Did you just refer to me as a "taper"?

You say that like its a bad thing... Everybody starts somewhere.

That was quite tongue in cheek - don't read too much into it. I do certainly know quite a few tapers and have been known to "get back to my roots" a couple of times a year. For the most part however, I no longer record concerts as a hobby and haven't in quite a while. Because I work for money, I can't really call myself a taper.

OK, threadjack is now over.

These mics are known to some degree in the taping community though. In the past I've run across a few folks using them in the field. No idea what they sound like though. I've been meaning to pick up some Audix stuff for a while now. I wonder if these would be of use to us?

[mrsteaks]

I know, nobody wants to hear from a part timer who doesn't post clips or photographs and asks dumb questions....

More dumb questions -

Daniel, can you explain the rigging on that fly rig you have in the photograph? I know the perspective on the picture is forced, and I'm sure the two bars are further apart than they look. It is an interesting contraption, and I'd like to know how you set it up, attached mics, routed cables, etc.

Also, on tiny mics, I bought a pair of Naiant MSH-1's, and for $25 US, why not? The surprising thing is how good they sound, and they are tiny, tiny, tiny. However, they are omnis, although i do believe Jon makes a cardioid version. Have you tried them? I have, and, as I said, they are quite good, especially considering what they cost.

~~~~Mark S.
Pretty Good Recordings

[d_fu]

Originally Posted by mrsteaks

Daniel, can you explain the rigging on that fly rig you have in the photograph?

I think the attached pics should explain it a bit better... I used two long nylon ropes, each of which can nominally hold 80 kg. Ran all the cables in the middle, up to the balcony, where I had parked the mic preamp. The soloists were in front of the altar, right behind the woodwinds. It's a rather small church...

I haven't tried Naiants, don't know if they are available over here.

Daniel

[mrsteaks]

Originally Posted by d_fu

I think the attached pics should explain it a bit better... I used two long nylon ropes, each of which can nominally hold 80 kg. Ran all the cables in the middle, up to the balcony, where I had parked the mic preamp. The soloists were in front of the altar, right behind the woodwinds. It's a rather small church...

I haven't tried Naiants, don't know if they are available over here.

Daniel

Great, great shots, thanks Daniel! Nice room, by the way.

As for Naiants, you can get them directly from Naiant: Naiant Studio

I'm pretty sure Jon will ship internationally.

Thanks again, Daniel!

~~~~Mark S.
Pretty Good Recordings

[David Spearritt]

Daniel, wonderful ingenuity and execution of the flying arrays. This shows real dedication. These venues are often difficult to deal with and stands and crowds don't mix.

You have given me an idea to assist with a music festival I have coming up. Many thanks.

[d_fu]

Originally Posted by David Spearritt

Daniel, wonderful ingenuity and execution of the flying arrays.

Thanks... We should open a separate thread about the most daring such constructions...

[mrsteaks]

Originally Posted by d_fu

Thanks... We should open a separate thread about the most daring such constructions...

That would be a great thread!

~~~~Mark S.
Pretty Good Recordings

[David Spearritt]

Originally Posted by d_fu

Thanks... We should open a separate thread about the most daring such constructions...

Well, yes we should. Most of the harrowing problems I have ever faced in location recording have nothing to do with mics, preamps or what gear to use, its always been related to how to fly or hang the mics from the ceiling or fixtures. Solutions to this problem would be GREAT to discuss and to submit photos for. A picture in these cases really does say a thousand words.

[pkautzsch]

Originally Posted by 0VU

Their sound is good enough for them to be used in serious work and, if you take price into account, they can bring into reach the kind of micing that until quite recently would've cost a good deal more money or bumped up the hire budget on some shows quite significantly. If they make possible something one couldn't previously do, then that can only really be a good thing.

So they should do fine soloist spots when added to a great Neumann or Schoeps main pair. They definitely are the next mics I'm getting.

3rd the "best of flying mics" thread suggestion.

[d_fu]

Originally Posted by pkautzsch

3rd the "best of flying mics" thread suggestion.

Done.

[d_fu]

Originally Posted by pkautzsch

The MicroBoom series seems to be exactly what I'm gonna buy next.

Sooooo.... Did you buy any of these?

[pkautzsch]

Haven't bought anything in the last few months...bit of a non-slutism time right now...need to go with what I have and somehow find it's fine.

[NorseHorse]

Anybody using the Audix micro series?

OVU and d_fu, any updates?

The Micros - Miniature Microphones - Audix

[Dr Bob]

We have three of the 50" carbon fiber Micro Booms with 1250B's (cardioid). I have used them for orchestral area mics from time to time, principally on woodwinds: tiny and really inconspicuous on stage. The Audix's are not very prominent in the mix of course, just providing a little clarity when it's needed and they serve the purpose well. 1250B's are not very quiet but serviceable in live recording where the noise floor is not too low anyway. I did recently use them to mic a small on-stage orchestra in a chamber opera, though. There simply was no other way available to me that wouldn't be visually disruptive. The orchestra was way upstage left. I set two 1250B's up in ORTF on their fiber booms and they virtually disappeared. The recording was much better than I expected. I also used one as a spot on a soprano soloist with orchestra primarily because of its positive visual qualities and the recording was good enough, but not very flattering for that particular voice.

Bob Miller