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Instrument Microphones: Exercising New Options
There’s a mic just right for every instrument, and every house of worship
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The Peavey PVM 45 is a good all purpose dynamic mic with a hypercardioid pickup pattern that provides good feedback rejection.
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When looks and sound quality are important for video or other visual effect Electro-Voice's Cardinal might fit the bill.
When selecting instrument microphones, you can follow one of two basic approaches: traditional or experimental. The traditional route involves using microphones that hundreds of other sound engineers have used before—some for decades. Many mics are so well known that veterans refer to them in alphanumeric shorthand: “On drums, maybe 414s for overheads, a 57 on snare, RE20 for kick, 460 on hi-hat, and 421s on toms. Maybe an 81 on acoustic guitar, and likely more 57s and 421s for guitar amps, unless we want condensers, in which case 4050s or 32s will do the trick.” And so it continues down the line.
If you’ve been around sound for a few years, those designations will be immediately familiar. If not, don’t worry. You may be more willing to experiment! Still, there’s nothing wrong with relying on the tried and true. You can count on consistency. That is, you know what to expect and how to quickly apply EQ and other signal processing for optimum results. On the other hand, consistency can get, well, boring. Sometimes the best way to introduce new sounds into your mix is to try a new microphone. And, in some cases, a different mic could save you money.
Consider two legendary microphones: the AKG C 414 and the Shure SM57. The C 414 (in several variants) is an excellent large condenser microphone, and is a favorite in applications ranging from drum overheads to piano and strings. One reason it’s so adaptable is that it offers switchable pickup patterns. But that feature also makes it rather pricey. If you’re shopping for a mic that you know will have the same assignment all the time, maybe a single pattern model will do the job just as well—and for less cash.
As for the venerable SM57, it will always sound like the bazillion other SM57s. That can be a good thing or not-so-good thing, depending on your viewpoint. If you value predictability, stick with it. But if you’re looking for a slightly different “flavor,” you might explore your options—particularly if the mic will be used for various applications. You may find a premium dynamic mic that works well on percussion, for example, but has a slightly different response on, say, background vocals or brass instruments.
So if you are seeking new instrument sounds for your mix, your cup overfloweth. In the balance of this story, we’ll survey a cross-section of alternatives to the tried-and-true.
A New Class of Condensers
Until recently, premium condenser microphones were largely confined to the studio. They were considered too expensive, too finicky and too sensitive (and therefore feedback prone) for live sound applications. All of that has changed. Prices have plummeted, reliability is excellent and the trend toward a “quiet stage” using in-ear monitoring has squelched feedback issues. As a result, more condensers are now marching onto the stage.
Among the newest is Shure’s SM27. An updated version of the KSM27 (which it replaces in the line), this side-address, large-diaphragm cardioid condenser is well suited to a range of instrumental duties. You could use a pair for drum overheads, put one in front of acoustic guitars or “classical” strings, or any other application where you want a more nuanced sound than available from most dynamic mics. A three-position bass rolloff switch (off, 80 Hz, 115 Hz) tailors desired response, and the 15 dB pad boosts maximum SPL to 152 dB—ample for most guitar cab duties!
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Bruce Borgerson networks around the industry via Wavelength Communications while monitoring technologies at the First United Methodist Church of Ashland, Ore.
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