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tips for using a vintage AKG C12 LIVE at the Oscars by Tim McGraw!!!! Condenser Microphones
Old 23rd February 2015
  #1
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tips for using a vintage AKG C12 LIVE at the Oscars by Tim McGraw!!!!

Wow. Amazing to see Tim McGraw using a vintage AKG C12 during his live performance at the Oscars this year. I never thought about using a vintage condenser mic in a live situation, but I guess I'll have to think again because he sounded amazing on this mic. Can anyone offer any tips about using large diaphragm condensers in a live situation?



Old 23rd February 2015
  #2
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don't put it in the wedges.
Old 23rd February 2015
  #3
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soulfield's Avatar
 

Lag bolt the stand into the stage so it NEVER tips over!
Old 23rd February 2015
  #4
Not sure thats not a t-funk re-issue. Cable is wrong for vintage, and stand adaptor looks like it's not knurled like a vintage one, but hard to tell from pix.

Either way, great choice, but one takes alot more cojones.

Best-
Jonathan
Old 23rd February 2015
  #5
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couch11's Avatar
 

Quote:
Originally Posted by [email protected] View Post
Not sure thats not a t-funk re-issue. Cable is wrong for vintage, and stand adaptor looks like it's not knurled like a vintage one, but hard to tell from pix.

Either way, great choice, but one takes alot more cojones.

Best-
Jonathan
Supposedly it is from Blackbird Audio Rentals and is AKG C12 Ser. #882 .
Old 23rd February 2015
  #6
Quote:
Originally Posted by couch11 View Post
Supposedly it is from Blackbird Audio Rentals and is AKG C12 Ser. #882 .
HA! Leave it to Rolff @ Blackbird to come through! They rawk. No wonder it's so purdy, and cojones they have!

Well done!

Best-
Jonthan
Old 23rd February 2015
  #7
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Quote:
Originally Posted by [email protected] View Post
HA! Leave it to Rolff @ Blackbird to come through! They rawk. No wonder it's so purdy, and cojones they have!

Well done!

Best-
Jonthan
Yes Rolff is the MAN.
Old 23rd February 2015
  #8
Quote:
Originally Posted by couch11 View Post
Yes Rolff is the MAN.
To those who don't know, Rolff runs Blackbird Rentals, and they will rent you practically anything you've ever lusted after on gearsltuz, at a great price, anywhere in the world. It's an amazing resource, for say, mic shootouts, mixdowns, a real tracking chain, etc.. And the gear is in TOP NOTCH condition, and is probably the best example of it's type. Very, very high quality operation.

Best-
Jonathan
Old 23rd February 2015
  #9
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claend's Avatar
 

In-ear monitoring seems like a good idea.
Old 23rd February 2015
  #10
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Quote:
Originally Posted by [email protected] View Post
To those who don't know, Rolff runs Blackbird Rentals, and they will rent you practically anything you've ever lusted after on gearsltuz, at a great price, anywhere in the world. I

Best-
Jonathan

Not to anybody, you need a good reference and credential to get the goods.
that's only mean that he care about his gear……...
Old 23rd February 2015
  #11
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Quote:
Originally Posted by [email protected] View Post
Not sure thats not a t-funk re-issue. Cable is wrong for vintage, and stand adaptor looks like it's not knurled like a vintage one, but hard to tell from pix.

Either way, great choice, but one takes alot more cojones.

Best-
Jonathan
Hard to tell from those pics but my HD television could actually see where the serial numbers are engraved when they went to a close up on Tim McGraw (couldn't read what they were) but those vintage c12s have a couple of specific spots they've got engravings that are different from any "reissue" mic.
Old 24th February 2015
  #12
Gear Nut
 

That thing sounded incredible last night. It was a pretty bold choice from a technical perspective. Is that McGraw's usual studio vocal mic?
Old 24th February 2015
  #13
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Quote:
Originally Posted by Petesie2 View Post
That thing sounded incredible last night. It was a pretty bold choice from a technical perspective. Is that McGraw's usual studio vocal mic?
I'm sure they rent it from Blackbird whenever they need to do vocals.
Old 24th February 2015
  #14
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A few thoughts:

First, just to speak as a "non-fan" for a moment, the song had sentimental meaning and immense value because of Glen Campbell's situation, not because it was inherently a wonderful song. If I didn't know some of the back story, I would not have thought there was anything particularly great about it. Harsh, but true (for me).

As for the performance, again, as a non-fan, I have been both more and less impressed in my life. It was fine, but not fantastic.

On the technical front, I am pleased to see great mics get used in real situations instead of just as props. That was very cool. Also, although it is not a new thing now (this has been done on this awards show for a few years), it is impressive that they have the orchestra in another building (Capitol Records) and it all works without a hitch. Man, if I had to rely solely on a video monitor for the conductor's cues and in-ears for my monitoring, I would be just a bit puckered as a I got ready to sing. So, well done to all the performers.

The OP asked about using condensers live. I would encourage you to look up the website for Ear Trumpet Labs. A guy named Phil Graham builds condensers and voices them for live applications. He also houses them in very cool bodies. Check it out. I can't afford a C12, but I can afford an Edwina, and it probably will behave better in front of the wedges.
Old 24th February 2015
  #15
To the OP's original question, I've used sE 4400's and sE 2200's live for acapella and choral stuff alot, and all over drums, bass, and gtrs for rock, as well as Shure KSM32's and KSM44's. You have to watch your monitor volume and system gain in general, but you get a much more natural vocal sound with MUCH broader pickup at much greater distances. A choice of Hyper Cardioid, Cardioid, and even Bi -Directional can help control bleed and feedback. I am not brave enough to bring my C12's out on stage, lol. I did buy a u47 in the late '80s from someone who had purchased it for live use in the early '60s, lol.

LDC's are fairly standard for OH's [sE has 4400a's with many national acts, Linkin Park, etc.] and 414s are fairly ubiquitous for rock historically. LDC's are great for Ac. Gtr, Ac. Bass, and Ac. Piano as well, and again the pattern selection is quite handy.

There is a growing trend to use LDC's on Electric Guitar on stage, and we have sE T2's [Titanium Capsules] on Tommy Iommi's El Guitar for Black Sabbath as do Paramore and Papa Roaches El Gtr's, and also on the recent Dylan Tour for example [4400a's]. Alt-J uses X-1's and 4400a's. Others like Keith Urban and QOTSA use the RNR-1 active ribbons and Justin Timberlake used VR-2 active ribbons for guitars [QOTSA also use sE LDC's]. I have seen KSM 32's live many times on stage. Papa Roach is using X-1D's [titanium LDC] for Toms and Kick Drum.

You will also have seen a trend in the last decade for Bluegrass bands to use 1 or 2 LDC's as the main or only mic's, gathered around, and moving in and out as needed to mix themselves live for a much more natural sound.

Careful use of the pattern and it's rejection [sometimes bi directional is the ticket] and in ears certainly help. The more natural bleed, greater reach and linearity, and higher gain all can be a revelation in the live world.

Best-
Jonathan

Last edited by [email protected]; 24th February 2015 at 03:45 PM..
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