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AKG D12VR and AUDIO-TECHNICA ATM250DE
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(1) GRANELLI AUDIO G5790 (2) HEIL PR28 (3) MXL 604 (4) MIKTEK PM11
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(1) SONY ECM-77 (2) YAMAHA SUBKICK
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(1) COUNTRYMAN ISOMAX 2 (2) EARTHWORKS P30 (3) ELECTRO-VOICE RE320 (4) DPA 4099
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(1) ROYER R101 (2) SHURE KSM313/NE (3) SENNHEISER E609S SILVER
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(1.) AUDIX D6 (2.) BEYER TG D70D (3.) BLUE EN-CORE 100i (4.) CAD AUDIO CADLIVE D82
Before you can bring all of the musicians' offerings to the congregation via the audio system—blending their individual contributions with the mixing console and other house equipment—you must capture each sound fully and well at its source. With the exception of certain electronic instruments such as keyboards and drum machines, all of the other voices and instruments will at one time or another require a microphone to deliver that energy to the console.
guitar to classical guitar or mandolin, electric bass to standup bass, acoustic piano to mbira, trumpet to sax to flute, and kick and snare to bells and shakers, selecting the best mics and placing them well can be a challenge. The instruments differ in how they generate sound, their range, their loudness, and many other factors. The end goal is to get the best, most characteristic sound you can capture from each instrument, with sufficient level and isolation among them, to create a pleasing mix where nothing sticks out too much or is lost, and solos can be brought out as needed. So the first step is to listen and learn how each instrument works, how the sound varies at different distances and orientations, how the particular player relates to the instrument, and their relative loudness.
Polar patterns, sensitivity, and transient response
The basic structure of a microphone consists of a thin membrane that reacts to the sound waves—the air excited by the moving soundboard or other sound source—and ideally moves in concert with those sound waves. This captured vibration is then converted to an electrical signal that moves through the wire to be further amplified by the sound system. The design and porting of the mic determines its polar pattern, whether it picks up sound relatively equally from all orientations (omnidirectional), or is more sensitive toward the front and attenuates sounds coming from the sides and rear (directional).
Directional mics exhibit an increased emphasis of lower frequencies when used close to the source, called proximity effect. Proximity effect and other factors will affect how the instrument sounds when it's reproduced through the loudspeaker.
Dynamic and condenser
Dynamic mics couple a thin membrane to a coil of wire suspended in a magnetic gap, like a miniature speaker cone. The vibration of the diaphragm moves the coil, creating an electrical current. Ribbon mics are related, using a thin sheet of metallic “ribbon” suspended in a magnetic gap. Condenser mics use a flexible diaphragm over a more rigid, electrically polarized back plate separated by an air gap, and the minute changes in the distance between them as the diaphragm moves with the sound waves creates the electrical signal that represents the sound.
Try different solutions
You may have a closet full of the best dynamic, condenser and ribbon mics available, or you may only a few to choose from. The important thing is to experiment with the mics in your inventory to find what sounds and works best for each instrument, including getting the level you need without feedback and allowing sufficient isolation between instruments. You may also have to make suggestions to the musicians about where the mics are positioned, so that (for example) a drum kit is not right next to an acoustic guitar. Also, guitar amps don't have to be turned up so high when their sound is mic'd, and they can be pointed up toward the player if he/she needs to hear better or side-fired across the stage so that they don't overwhelm the congregation by being pointed directly at them.
During set up, you might try using a pair of headphones with a long cable connected to the console inputs so that you can move the mic on stage and listen to the results in real time. Move the mics to different orientations and see how the instrument sounds, and whether it is overly thin or boomy or harsh or distorted. At the console, solo the channel and listen in isolation to hear what is being captured, and then add it to the other instruments to see how they blend and whether the relative levels work.
In a noisier environment, or with other instruments nearby that are bleeding into the sound, move the microphone closer to the instrument. And if you need less reinforcement, try mic'ing at a slightly greater distance to capture more of the instrument's sound along with the ambience. In these situations, a condenser with a wider pattern could be used to capture a grouping of instruments, with the players positioned so that their levels are balanced from the microphone's point-of-view. Enjoy working with the tools you have, and bringing out the wonderful sounds of all those musical instruments.
AKG D12VR
Designed for kick drum, this compact mic fits in tight spaces with the head allowed to swivel for ideal positioning and the cable connector paralleling the mic boom. It is a large-diaphragm cardioid dynamic with a thin diaphragm responsive to low-frequency energy, coupled to an optimized bass chamber with a frequency range of 17 Hz to 17 khz (+/-2dB) and very high maximum SPL of 164 dB. It uses the original C414 transformer plus passive circuitry for is basic sound, and if the mic is supplied with phantom power, three additional active filters (“sound shapes”) are available, designated “open kick,” “closed kick,” and “vintage sound.”
List Price: $649
Audio-Technica ATM250DE
Designed for kick, guitar amps, and other instruments, this dual-element mic combines a cardioid condenser and a hypercardioid dynamic with a high-output neodymium magnetic structure within the same compact enclosure. The dynamic element captures the attack and “punch” while the condenser element adds the full higher frequency response and transients. Using a special 5-pin XLR connector, the signal can be run to two mix channels, with the condenser element requiring phantom power, and having an integral 80-Hz high-pass filter and 10-dB pad, as well as a frequency response of 40 Hz to 20 khz. An isolation clamp that allows versatile positioning is included.
List Price: $549
Audix D6
Designed for kick, floor toms, and bass cabinets, this cardioid dynamic mic features the company's VLM (very low mass) diaphragm for greater responsiveness to low-frequency signals. Frequency response is 30 Hz to 15 khz, and max SPL is >144 dB. The mic is quite compact and unobtrusive for ease of positioning on a drum kit, and features a lower sensitivity output to lessen the potential of clipping the console input with high-impact signals, such as kick. The companion D4 dynamic low-frequency instrument mic is smaller, with the same profile and a hypercardioid pattern.
List Price: $310
Beyer TG D70d
Designed for kick, bass cabinets, and other low-frequency sources, this large-diaphragm hypercardioid dynamic mic has a very focused polar pattern with a frequency response of 20 Hz to 18 khz, when close-mic'ing. The response is flat through the upper midrange, and has an emphasis in the higher end above 3 khz for a brighter, more detailed sound. Two switches on the mic provide different EQ curves, with a treble boost to accentuate the attack and a lower mid cut. For smaller percussion, the D58c is a small condenser on a short gooseneck, integrated with a spring-loaded clip for positioning.
List Price: $399
Blue en-Core 100i
During set up, you might try using a pair of headphones with a long cable connected to the console inputs so that you can move the mic on stage and listen to the results in real time.
Designed for instrument mic'ing, this cardioid dynamic is in a format similar to a handheld mic, with a reinforced grille and large guard ring to prevent damage from stick hits when mounted on the drum kit. The polar response is fairly consistent across the frequency range of 50 Hz to 16 khz with internal circuitry to smooth its response, and the mic has an impressive 154 dB maximum SPL.
List Price: $89
CAD Audio CADLive D82
Designed for instrument mic'ing, CADLive is a series of side-address microphones with different mic elements within the same style of enclosure. The D82 is a figure-eight ribbon microphone with a frequency response of 30 Hz to 20 khz, and a max SPL of 140 dB. The other mics in the series include a supercardioid dynamic and a large-diaphragm cardioid condenser.
List Price: $219
Countryman Isomax 2
Designed for mic'ing instruments ranging from acoustic guitar to piano to winds, this miniature condenser mic is available in four polar patterns: omnidirectional, cardioid, hypercardioid, and bidirectional/figure-eight. Frequency response is very flat and accurate, ranging from 20 Hz to 20 khz for the omni, and from 50 Hz up for the other polar patterns—and the polar patterns are consistent across all frequencies for high gain before feedback. These mics can be placed inside or outside of instruments, in the bells of brass or the bridge of an acoustic bass, and have a very high maximum SPL of 150 dB.
List Price: $295
DPA 4099
Designed for a wide variety of instrument mic'ing applications, this miniature condenser mic features a supercardioid polar pattern for isolation and high gain-before-feedback. Frequency response is flat, 20 Hz to 20 kHz when close-mic'd, with a maximum SPL of 142 dB. Adapters are available for guitar, violin, brass, piano, percussion, woodwinds, and more. The omnidirectional 4060 model is a touring standard for acoustic piano, capturing an acoustic bass, or similar situations.
List Price: $599
Earthworks P30
Designed for mic'ing acoustic instruments, this microphone features a small cardioid capsule on a short gooseneck, coupled to a mic barrel so that it can be stand mounted—designated the Periscope Microphone. Using the gooseneck, the mic can be repositioned without moving the stand. Its frequency response is extremely flat and accurate, with very uniform polar patterns across all frequencies for excellent gain-before-feedback. Transient response is quite accurate, as well. Both cardioid and hypercardioid patterns are available. The P30 is derived from Earthworks' audio measurement mic, widely used for tuning professional audio systems.
List Price: $899
Electro-Voice RE320
Designed for kick drum and other low-frequency mic'ing applications, this mic features EV's Variable-D technology. Variable-D means that the bass frequencies will remain balanced rather than being overemphasized when the mic is placed near a bass guitar cabinet, larger horn, or kick drum. A dynamic cardioid mic using a neodymium magnetic structure, with a frequency response of 30 Hz to 18 khz. Integral switches provide two different EQ curves—one ideal for kick drum and the other for general instrument mic'ing. It is quite durably built, and performs well.
List Price: $423
Granelli Audio G5790
Designed for mic'ing snare drums and guitar amps in tight spaces, this microphone takes a Shure SM57 and converts it to a right-angle format, while keeping the internal acoustic spacing identical. First created to solve a positioning issue in the recording studio, the acceptance by musicians encountering them while recording led the designers to develop a commercial version. Its audio characteristics are exactly the same as a standard SM57.
List Price: $199
Heil PR28
Designed for mic'ing snare and toms plus other instruments, this compact cardioid dynamic microphone has an integral hinged stand-mount, so that it can be positioned tightly over the drumhead. Frequency response is 55 Hz to 18 kHz, with a maximum SPL of 142 dB. Response is fairly flat across the midrange, with a slight rise in the upper frequencies. The PR48, a larger companion kick drum mic with a similar appearance, is also available.
List Price: $199
Miktek PM11
Designed for kick drum, floor toms, bass cabinets, and acoustic bass, this supercardioid dynamic mic features a neodymium magnetic structure and a custom AMI transformer. Lower frequencies are emphasized, and the internal layout and venting provides a controlled polar pattern with superior isolation. Frequency response is 50 Hz to 10 kHz.
List Price: $419
MXL 604
Designed for drum overheads and acoustic instruments, this small-diaphragm condenser microphone provides both a cardioid capsule and an omnidirectional capsule, which can be interchanged as desired. Frequency response is 30 Hz to 20 khz, with a maximum SPL of 137 dB. The mic has a fairly high sensitivity, and can be used effectively for distant mic'ing. A switchable 6-dB-per-octave high-pass filter with a knee at 150 Hz is provided.
List Price: $179
Royer
R101
Designed for guitar amps, drum kits, brass instruments, and other instrumental applications, this microphone is a dynamic ribbon with a figure-eight polar pattern. The multi-layer screening minimizes wind noise, and also diminishes proximity effect so that bass emphasis is less apparent when close mic'ing. The offset-ribbon technology yields different response characteristics at the front and back of the figure eight, with the front being flatter and the back providing a brighter response. Maximum SPL is 135 dB at 35 Hz, so it can withstand very loud low-frequency energy. Frequency response is 30 Hz to 15 kHz (+/-3dB). Matched pairs are available.
List Price: $995
Sennheiser
e609S Silver
Designed for mic'ing guitar amps, toms, and other drums, this supercardioid dynamic microphone with a neodymium magnetic structure features a flat side-address face for close positioning. Frequency response is 40 Hz to 18 kHz, slightly rising through the upper midrange and with a broad HF emphasis. The close mounting, combined with the tight polar pattern, creates strong isolation from other nearby audio sources.
List Price: $139
Shure KSM313/NE
Designed for guitar amps, voice, and other instruments, this mic is a dynamic ribbon with a figure-eight polar pattern. The proprietary Roswellite ribbon has excellent strength and durability for high-SPL applications. Frequency response is 30 Hz to 15 kHz, and maximum SPL is 146 dB. Front frequency response is warm and full-range for amps, while the back has a brighter response for voice and other instruments.
List Price: $1,619
Sony ECM-77
Designed for mic'ing instruments and voice, this miniature omnidirectional condenser microphone features a small element with a long, thin cable, ending in a connector unit that can accept a AA battery for situations when phantom power is not available. Frequency response is 40 Hz to 20 kHz, and the response is flat through the midrange with a slight high-frequency emphasis.
List Price: $364
Yamaha SubKick
Designed for kick drum and other low-frequency instruments, the SubKick is a unique device—consisting of a 16 cm (six-inch) low-frequency driver cone mounted in a drum shell. The low-frequency energy coming from the kick drum moves the speaker cone, inducing an electrical current, which is sent to the console, identical to a dynamic mic only much larger. It may be used alone or combined with a standard kick drum mic to reproduce the intensity of the low frequencies coming from the instrument. Frequency response is 50 Hz to 2 kHz.
List Price: $700
