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Best Live condenser mic for bluegrass set up?
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So I've been wading through some old posts but can't find a good match for the question:
What would be the best condenser mic to use in a traditional bluegrass band. I'd like to use just one or maybe two. What have ya'll used that does well against feedback, rejects crowd noise up front, maybe a lower and higher costing example, and a preamp idea?
I have used an old AKG 414 for a while but find that its too sensitive, and others I've used do better. I also have an in-ear monitor system for those really loud bar situations....thanks!
 
Posts: 27 | Registered: September 26, 2010Reply With QuoteReport This Post
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Hi, It might be strange to get info about this from the UK, but we have a splended traditional bluegrass band called "the New Essex Bluegrass Band" and they use the single mic system - ad the necessary choreography!

They have writen a page on their website about it - See this :

http://www.newessexbluegrass.h...ll.co.uk/onemike.htm


Ol' Andy


Ol'Andy
An aged limey picker upon 12 fret Collingses etc.

"Walkin' on water 'cos I never learned to swim - lookin' for the holy grail" (thanks SE)
 
Posts: 2172 | Location: West Sussex | Registered: November 09, 2005Reply With QuoteReport This Post
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I would think that a 414 would work about as well as anything for that purpose, most I've seen have adjustable patterns so that should help. The major issue is having someone running your board who's good working with the technique.... it doesn't seem to lend to "set it & forget it" quite as well as multiple mic set ups.


'08 D2HSB
 
Posts: 195 | Location: Motor City & environs | Registered: December 22, 2008Reply With QuoteReport This Post
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Hey thanks ya'll what ya think about the AT 4033 and the AT 4050 mics?, I've seen those used a lot
 
Posts: 27 | Registered: September 26, 2010Reply With QuoteReport This Post
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Are you trying to simultaneously use this (these) mics to record the show as well as for live sound reinforcement? If not, I'd go with a mic built for live sound rather than mics built for a studio environment. Not that they can't be used, but each brings a feature set to the table designed to excel in its environment. I would think for live sound, you could use a good dynamic mic with stronger feedback rejection built in. Then mount it right next to a good condenser recording mic. For those purposes, a 4033 or 4050 would be good. Or if you really wanna go the distance, those new Neumann TLM-102s are tiny and great...

Bob
 
Posts: 39 | Location: Rochester, NY | Registered: November 11, 2006Reply With QuoteReport This Post
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As used and recopmme3nded by the New Essex Bluegrass Baned - the AT4033a has proven a fine workhorse for single mic work.
I have also used a Rode NT1 which has perfoermed well.

Just because they are desgned priomaroy for struio deoes NOT mean they are unsuitable for stage work, but I would suggest that you refrain from doing any Roger Daltrey acrobatics with them.

With the single mic approach the band must be expert in discimplne and choreography which looks great if well done and can be like a demolition derby if not.

With a single mic it would be set and forget as opposed to multi mics which need the constant attention of soud engineers.

I played into multi mics last Friday at a festival. and , Oh good lord the P.A was being run by rockers. All bass, all treble, too much foldback, what esle could go wrong!

Andy


Ol'Andy
An aged limey picker upon 12 fret Collingses etc.

"Walkin' on water 'cos I never learned to swim - lookin' for the holy grail" (thanks SE)
 
Posts: 2172 | Location: West Sussex | Registered: November 09, 2005Reply With QuoteReport This Post
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The primary difference between stage and studio mics is their ability (or inability) to reject background noise, helping to fight off feedback. A 414 is very sensitive, as you confirmed, but there are others which have a tighter focus on the sweet spot. Two things make the standard Shure SM-57 so popular: it's ruggedness, but also its ability to ignore noise that's peripheral to the singer. But there are better "sounding" mics, like a 414, for instance.

If that's not cutting it, the ATs that have been mentioned are popular, though still rather sensitive. You might consider a cardioid small diaphragm condenser, like the Neumann KM184 or one similar. While the 184 isn't my favorite mic overall, it's very flattering for acoustic guitars, and for Collings dreads in particular.

As far as preamps go, what's a comfortable budget? There are too many options to list. Fortunately, the preamp won't have nearly the same degree of influence upon your sound as the microphone does.
 
Posts: 5379 | Location: Chicago | Registered: May 08, 2002Reply With QuoteReport This Post
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Check out EAR TRUMPET LABS line of mics

http://www.eartrumpetlabs.com/

I have the Edwina and the Josephine that I take with me when I do open mics and such and ALWAYS get comments on both the sounds and the cool looks.

The mics sound GREAT by the way.
I am thinking of taking the Edwina with me on my next gig with the Classic Rock band I play in.
 
Posts: 559 | Location: Colorado | Registered: December 16, 2007Reply With QuoteReport This Post
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Hey those Ear Trumpet Labs look great, I'd love to try one. And yes Elambo those KM184 are great on the dreds, as far as pre amp $, I really don't know, I'd say what would be the base for something that does the job without getting too fancy. I'm gathering that a great set up would be two mics,(I've even heard good things about ribbons in a live situation, my fiddler is pushing for that, and the SDC) & some kind of feedback suppression (thoughts on a decent one at a fair price?). I'm just using these for bars, wedding tents, private parties, rarely a festival situation because they'll have all their own stuff. thanks
 
Posts: 27 | Registered: September 26, 2010Reply With QuoteReport This Post
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A stereo preamp that'll do a good mic justice will run up towards $1K and quickly escalate from there. You can find them cheaper (a couple hundred) but they'll degrade a good sounding microphone. The minimum I'd suggest would be the RNP which is made by FMR Audio. It's a clean amp, far and away the most impressive in this price range (around $500). If you want to push higher let me know. Choices begin to open up above $1K.

The above refers to two-channel units.
 
Posts: 5379 | Location: Chicago | Registered: May 08, 2002Reply With QuoteReport This Post
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Yes, the Ear Trumpet website shows a lot of pics in the gallery of people using the mics with mandos, banjos, acoustic guitars, etc.

They also have a pretty decent selection of videos where you can hear a decent representation of the mics.

Also the owner of the place is happy to talk with you and help you decide which model might best suit your needs. I had a small issue when I inadvertently placed my order for the wrong mic ((I ordered a "Louise" instead of the "Josephine" (I wanted the swivel head)) and he was extremely gracious enough to take care of me.

Very very happy with these mics in live performances and replaced a Neumann KMS 105 with the Edwina.
 
Posts: 559 | Location: Colorado | Registered: December 16, 2007Reply With QuoteReport This Post
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Those Ear Trumpet mics look very cool, and they have a vintage sound which matches their aesthetic vibe.
 
Posts: 5379 | Location: Chicago | Registered: May 08, 2002Reply With QuoteReport This Post
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