I sold my Martin with a pickup and I'm dumping my amp soon.

So I need to get serious about a mic solution for my D1A. I'm curious as to your opinions about small v. large diaphragm condensor mics in a live setting (75% church, 25% small venues).

I've had great results with both types. A truly great LD is typically more expensive than an equally great SD, so keep that in mind.

What's your budget?

I'm looking in the $500 range (used). I've been focused on small diaphragm, so I've been considering the Neumann KM184 or the Shure KSM 137. In an LD, I've thought about the KSM 32, and more recently I've thought about stretching the budget for a BLUE mic.

The reason I'm considering a large diaphragm is because I might ask the mic to serve double duty as the single mic for a family band.

I think your instinct to consider a KM184 is right on. The only instrument in a family band that I wouldn't necessarily want to use it on is upright bass since it doesn't cater to bass instruments. Otherwise, I've used it on acoustic guitars (and LOVE it), vocals, electric guitar cabinets, violins, cello, accordian (seriously!), bagpipes (I'm still serious!), drums (it's great sitting above the entire kit, but again lacks a little bass from the kick drum), various percussion instruments, etc. It's quite versatile.

HOWEVER, it will not handle everything. A BLUE mic would be very nice for you, but LDs will be more fragile and not necessarily live-gig-friendly.

quote:

LDs will be more fragile and not necessarily live-gig-friendly.

I've been thinking about this too. I'm not talking about a once a week thing. Probably more like once a month. And I don't have roadies so I would be handling the mic entirely myself. From the case to the stand and right back to the case. Should I still be concerned about the fragileness of the LD?

Elambo, have you used the KM184 as the single mic for a group? I just wonder if the LD wouldn't be better suited to a group. I've never seen anyone use a small diaphragm for this, but I assume you could.

I think I follow you now. You're looking to record everyone simultaneously? If so, the tight recording pattern of a 184 won't be best. It only listens to a narrow field, which is great for cancelling out unwanted noise, but in your case you'll WANT that surrounding noise to come through.

LDs have wider patterns and would probably be better for your intent(s). And if you will be your own roadie, I doubt there would be much risk of you damaging an LD. Go that route.

If you're looking at BLUE mics, most if not all of their budget mics will have the tighter pattern that the KM184 does (cardioid).

Close. I'm looking more for a live mic than a studio mic. The larger coverage area of the LD is what has me considering that.

If you want to use a microphone live for an acoustic guitar, and want some chance at a quality hi-fi sound, a good choice is a small diaphragm condenser with a hypercardioid capsule. No need to get really expensive here, as much of the qualitative difference between, say, a Octava MC-012 and a Schoeps CMC6/MK41 will be lost in a live setting, particularly if the remainder of he signal chain is the standard fare, and even moreso if the guitar is being mixed with numerous other sources. A Peluso CEMC6 w/ hypercardioid capsule is a very nice mic for less than $300.

If you want the mic to also serve as a group mic (I'm thinking several bluegrass players/singers as an example), a multi-pattern large diaphragm condenser mic is a better choice. There are many in the $500 price range, both used and new. An ADK TL is quite nice for example.

Keep in mind that condensers, while not necesssarily fragile, are not robust either. Care must be taken in using them at all times.

Being a recording engineer, I would highly recommend the AKG 451 reissues (@ $500 new). Having tried many mics on acoustic, I found these to be the most realistic while also being quite "flattering" at the same time. Wont need much eq either. They are bright but the top end is natural and airy, not crunchy. The Baby Bottle is also nice in that price range and maybe a bit warmer. Remember as well, small diaphragms will get better transients and bottom end as well.

quote:

Originally posted by jimd2hg:
Remember as well, small diaphragms will get better transients and bottom end as well.

I've never before heard anyone say that SDs have better bottom end than LDs. Are you referring to the AKG here?

small diaphragm mics do tend to pick up a more natural transient and bottom end. that being said, you will not get the same proximity effect. I should have been more clear. the large diaphragms warmth or bottom is due to proximity effect. the larger diaphragm needs more power to move the mylar. Think of it as a comparison of an OM to a 12 fret dred. Also, mics are like our favorite flattops. I really like my german topped d2h, but sometimes my breedlove DM is more appropriate.And my Eggle Braz/Red dred is killer, but not for eveything.If you think only players get GAS, think again. Engineers are insane about mics,pre's, compressors, eq's, oh and NEVE. My point is that like any guitar, you should learn to make the best of what you have. Back to the original topic, due to the smaller surface area of say, a 451 or (another good choice) a Shure SM81, it takes less force to move the diaphragm so you get more sensitvity.Another point I will bring up, since we are all familiar with it is resale. Certain mics will hold value. While chinease mics will often work fine, they will not resell. A 451 will sell for about the same as new, and if they are discontinued anytime soon, sell for more. A message about Nuemann, the KM184 IS NOT anywhere close to an original KM84.It is a transformerless mic, while the original KM84 had iron. Think of the difference between Englemann and Adirondack spruces.That is about as close as I can describe the difference.

and by the way, I am not going to put down the less expensive mics, some of them sound really good.