Live Sound Reinforcement Microphone Specs

[asdf1234]

Hi,

I'm looking for a microphone that can do both recording and live sound reinforcement (in different environments). What specifications should I look for in a microphone that may help me decide if they can be used for live sound reinforcement? The volume I'm looking at is not very loud. About jazz volume. Maybe just a little louder at times. I'm mainly concerned with gain before feedback, as I am reinforcing a cello.

I've seen the DPA 4060 and 4061, but they're out of my price range. I know the Audio Technica ATM350 can do live sound reinforcement well, but does anyone know if it can also do standard recording well? One microphone pair I'm looking at is from Church Audio (highly regarded by tapers), the CA-11. It is possible to get caps for omni and cardioid. I know they're good for field recording, but I've never read of anyone using them for reinforcement. So how do I know if these microphones are fine for live sound reinforcement? What makes one microphone better at reinforcement than another?

Thanks

[fifthcircle]

A search on the remote forum would save you a lot of time.

A favorite mic for live string use is the DPA 4061- it mounts easily and sounds quite good. For recording that show, it will be fine. For a studio session, I'd probably go with a mic on a stand, but that won't work as well for a live show.

--Ben

[Alex Specht]

AKG C1000.

I have used it on nearly everything, both live and in the studio.

It also has a polar patter capsule which can make it into a hype-cardiod patter, eliminating feedback from wedges when used on vocals or acoustic guitar etc.

for $200 you cant go wrong.

[fifthcircle]

I'm personally not a fan of the C1000 as they get very bright. That bright sound brings out the production noises that the bow creates on the string (especially when close mic'd as you would need). More importantly any mic on a stand may bring in issus of leakage. Because strings are not loud, I've had some bad experiences- especially with drummers- when micing them.

For years, the standard was the Countryman ISOMAX. To this day, even the Kronos Quartet still uses them, although in a non-traditional way that I would not recommend unless you REALLY know what you are doing. The DPA gives a very smooth sound that you can almost get away without eq on. This is the only close mic that I've ever experienced this with. There is also a new DPA- the 4099 which I think would work well too. It is a supercardiod mic that is similar to a mini shotgun in its design. The bits I've heard on it I was very impressed. They don't have a cello mount for it, but the acoustic guitar mount may work well. In any case, you have a smooth mic that the proximity to the instrument allows for great isolation and gain before feedback.

--Ben

[tINY]

For a little less money than the DPA, I like the AT u873r (there have been several incarnations of it 973r AT873, etc). It has a good hypercardioid pattern and the very top end is rolled off a few dB. It doesn't get scratchy with heavy bowing.

I've reenforced and recorded Fiddles, violins, violas, and acoustic guitars with them (and I think reenforced mandolins). They are pretty easy to get a good sound with...



-tINY

[asdf1234]

Thanks for the replies

Originally Posted by fifthcircle

A search on the remote forum would save you a lot of time.

I did a search a few days ago and came across almost all of the microphones you guys just mentioned. The thing is, I'm actually asking for specifications, so I know what makes a given microphone be better for reinforcement than another. I'm looking specifically at a couple microphones (Church Audio CA-11 or CA-14, which tapers at taperssection.com regard highly), but no one has ever really used it for reinforcement. Here some of the specifications on the ebay page:

1- Distortion of less then .01% @114DB @ 1K
2- Frequency response 20 hz TO 20 khz

7-Low self noise microphones 27 dbA



I don't really know what to look for in a microphone for sound reinforcement. The AKG C1000 I have read is not the best in its price range for cello. The DPA 4061 is out of my price range, but looks really nice. The Audio Technica microphones look great for live sound reinforcement, but I would also want to use whatever microphone I buy for recording purposes, and a hypercardioid is probably not the best option for cello recording in a hall. These CA-14 and CA-11 would work for field recording, but I'm not sure if they work for live sound reinforcement.


I would much prefer for the microphone to be clipped directly to the instrument, allowing greater flexibility and mobility on-stage.



Would a stereo pair of cardioid microphones be fine for recording cello in a hall (I don't mean reinforcement)? I've read good things about the live sound reinforcement of Audio Technica ATM350 microphones. Do you think they would do well in recording as well?

Here they are.

Thanks again!