Microphone for quiet instruments

[jeffe]

Oh yes. Well the C1000 is probably a bit bulky for strapping to instruments. It's not light either.I'll go with Gunter. Just because I love AKG for mic's (and Senheisser for headphones).

[53mph]

Quote:Oh yes. Well the C1000 is probably a bit bulky for strapping to instruments. It's not light either. Why would you strap a C1000 to an instrument? Surely it would be better to use a mic stand, in which case, weight is not important.If you're talking about body pick-ups for performing then that's a whole different ball park. I don't know of any studios that would recommend using a body pick up to record instruments in place of a mic on a stand.Don't tell me you strap a mic to your accoustic guitar when you perform!!! Gunter seems to know what he's talking about...just hope those mics aren't too expensive.

[jeffe]

Ahem....It was a bit of humour after the picture he included in his post. Look see. I still like AKG though.

[jeffe]

Talking about price. AKG are not cheap.I'm just imagining trying to strap a C1000 to my acoustic now and thinking about how long it would take the strap to sever my head from weight of it all.

[aubreyz]

One thing that is important to mention in this topic is that the caliber of your mic pre and AD convertors makes a world of difference. There are many mics in the 600 range that will do a good job, and some opinions are just brand loyalty or experience based. While there is some difference between a 600 mic and the pricier ones, that difference is not as apparent until a great pre is in the chain.Also a great pre will help any mic sound better. So depending on what mics you have now, and what pres you have available, it might make more sense to invest in a versatile mic pre.The small diaphragm condensers mentioned so far are all great choices. A personal favorite, in a less expensive mic, is the Shure SM81 - versatile, flat, fairly tight pattern and works well on acoustics, overheads, and even background vocals in a pinch. I picked up a couple of the cheapo Behringer (B5's I think) for an outdoor gig a while back. They are dirt cheap, but sound remarkably well considering.In some cases I'll combine a small di with a large di for miking acoustic stuff, or two small di's left and right with a large di center.There are times when a pristine solid state pre sounds the best, and sometimes a lightly driven tube pre adds the right warmth.All that said to say this - with decent pres, decent mics and taking the time to find the perfect placement, you can get a great sound. The right mikes in the wrong place will still suck. It's all about experimenting.I was recording an acoustic a few weeks back, and after trying everything... the $50 Behringer in the right spot worked the best - and I bought those mikes expecting to pretty much throw them out after the outdoor gig. However, it would be a mistake to always reach for that mic now. 9 times out of 10 better mics are better.Aub

[edteja]

If you decide to throw them out Aub, let me know which window, so I can stand underneath.

[aubreyz]

Quote:If you decide to throw them out Aub, let me know which window, so I can stand underneath.Lol. Not going to happen. They are a cool little pair of mics to have. Interchangeable cartridges, pad and low cut filter. Not exactly 451's but incredible for the money (which is actually closer to 90 bucks a piece not 50).

[allends]

Thanks Everybody,Every sitar player needs gurus like youz! Cheers,Allen

[allends]

Quote:I put the mic over the sound hole about six to twelve inches away. If it is too boomy at the position, I would aim either up the neck or towards the bridge. Close miking like this requires equalization and I also use a compressor so that the guitar recording competes with the rest of the production. Being a soft instrument, you have to make the acoustic sound more aggressive. If you are a soloist without the Pop/Rock backing track then I would take more of a classical approach to recording the instrument mic further away, less EQ and compression if at all.Yes Gunter, that helps Backing away with a cardiod will work much better than close micing with my omni-directional, that's why I need to spend a little money. My PC has a quiet Zalman fan so I only hear the noise from the dual drives. It's nothing that a blanket or barrier can't cure.BTW: Since you mention it, the rule of thumb for micing a sitar without a soundhole is to aim for the wood near the bridge from a distance of about a foot. In a good studio there are a lot more options, but it's good to avoid getting too close to strings, fingers and plectrums: all can be too noisy. I hope you enjoy these exotic factoids. Cheers & Thanks,Allen

[nickbatzdorf]

"what i forgot to say is - get a small condenser, point it exactly the opposite direction away from your computer"Just to be a niedermeyer, I think you mean point the mic with its side facing the computer. That will place the comp in the mic's null point, i.e. the point in its pickup pattern where it rejects sound - if it's a cardioid mic, of course; with an omni it makes no difference.Someone mentioned the Neumann KM184. That's a great mic, but it's bright. The Oktava I recommended sounds very much like the KM84, the 184's predecessor. It's a flat mic rather than a character one - which is neither good nor bad, of course. There's a place for mics with an opinion and a place for mics that give you back what you put in.