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Old 18th July 2019
  #10
Here for the gear
 

Quote:
Originally Posted by JoeDeF View Post
I have two M179's. I have experimented with them (long ago) in MS, but I don't think they made it into any actual recordings IIRC. Their polar pattern in fig8 is fairly consistent for such an inexpensive mic (much better than the cardioid pattern), at least until 10k.

They are heavy indeed, and though not really big, they'd be pretty visible as a pair. If you want simple to set up and inobtrusive and cheap and good, I'd go with CM4's in NOS with a shapeways mount. If you need to reduce environmental/crowd noise and/or if the room doesn't sound great, you might be better off with the CM4's. I have CM3's, and trust the CM4's to be close enough to recommend without having used them.

If the room sounds good and crowd noise and environmental noise won't be an issue, the OM1's in spaced pair could be a good choice. I don't have OM1's (just going on recordings shared here), so that's not a first-hand recommendation.

Another cheap mic I don't have but which might be worth checking out is the Superlux S502.


EDIT -- Just remembered that M179's are phantom power hogs; any pro level interface, recorder, or mixer should handle a pair of them fine, but I'm not sure if a very cheap interface or recorder (like a battery powered "shaver") will provide enough phantom for two of them.
That's really informative comment. My wish to use Mid-Side technique comes from concert experience where an acustic is unpredictable and later corrections in DOW might sometime help. But, as elegentdrum mentioned, a figure-of-eight is basically a room mic, my vision may appeare as a wishful thinking. A good stereo configuration of two small SDCs is the way to go. Thanks!
For many years of activity as a musician, I've had only once encountered Line Audio Design's mic (a solo CD recording of a baroque lute) and it wasn't a sucsesful one. We've mounted a huge bunch of various stereo pairs and CM3s dropped out at the very beginning. But who knows, as I learned, setting the microphone in relation to the instrument and specific acoustics of the room is a great art, bordering on black magic , so every situation is different. Maybe then my sound engineer did not have a heart for them either, who knows. I will buy them for myself and without stress I'll learn how to use them, they are not expensive so the risk is small.

Once I had Superlux S502. But they appeared exremaly delicate, I mean the joint between the capsules and the main body. One inattentive move, fortunately after the recording, caused that the connection broke and it did not pay off to solder it anymore. Maybe I'll order another one, as it wasn't bad as an additional general stereo.

I read about the M179's power hunger. So far, while recording a concert, I used Tascam DR-70D (on a tripod under the camera), always connected to the mains. Now encouraged by enthusiastic information, I plan to buy a new Zoom F6, which seems to be quite abundantly secured with electricity. We'll see! But no, I will not put on stage, in front of the band, the two M179, however well monted, as I will not know if the applause is for playing or for the installation