Need a mic recommendation

[JuddTaylor]

I've been playing mando a good bit at church lately (along with electric guitar and other instruments), and for reasons I need to run a mic through a helix and use that as a preamp/di.

So I'm looking for something <$250 that is not terrible for this application. I need to deal with being near the drum booth and a piano, so dealing with bleed from that is an issue. Monitoring is through IEMs, so no issue there. Phantom power is not an issue. And bonus points if it's good for picking up an octave fiddle, too (I often cover cello parts with that).

I have not gotten along well with SM57s in the past. I've been using one of the church's Beta 87A's, and it's not the worst thing, but still a little too hot on the highs. I think the helix can take care of most of that easily, but still if I'm spending $ I might as well get something that I like on its own.

[Mike Snyder]

I like my Sennheiser e935. Very similar to an SM57 but a cut above in most every way. I have used it on vocals and mandolin into various PA setups. Tough workhorse style mic with excellent performance. Might work for you.

[UsuallyPickin]

For a quality hot all around vocal and instrumental mic I like these.
https://www.akg.com/Microphones/Cond...s/C1000_S.html

R/

[mandroid]

for vocals, Just NB; condenser mikes don't fare well being spit into , so foam wind screens can help there, dynamics tolerate it .


Rode includes a few dessicant pouches and zip lock bags with their Mics

this one uses phantom when available but a 9v battery when it's not.. http://www.rode.com/microphones/m3

a higher end model similar versatility, .75" diaphragm vs .5"
http://www.rode.com/microphones/nt3..

[J.Albert]

Audio-Technica AE5100.

[MikeZito]

Shure SM-58 Beta - great for vocals and instruments . . . I have done countless recordings with them, and never a complaint.

[almeriastrings]

I like the AT AE5100 a lot (excellent large diaphragm condenser in a small package), but it is not that great where you need to eliminate bleed. it has quite a wide pickup pattern and off-axis rejection, while OK, is likely not going to cut in under the circumstances you describe.

Certainly Beta 57's or similar super-cardiod dynamics would be a safe bet.

If you want to stick with a condenser, though, you options are somewhat more limited...eliminating bleed would seem to be a major priority here. You could spend a lot of $$$ and get a Neumann KM-185, but there is a lower cost option that delivers very, very good results for a fraction of the price:

Peavey PVM-480

These are something of a hidden gem. I've since acquired a couple more, and used them in very challenging conditions for instruments, also as an overhead boom mic on interviews.... they're usually overlooked, but they're a really useful mic at a very reasonable price. Thy sound as good as pretty much any SD condenser in the under $400 each range, and have superb off-axis rejection making them ideal when you need to cut bleed or isolate sources.

[Willie Poole]

Since you have a computer why not just type in Microphones and then take an hour to read all of the info that pops up...

Willie

[JuddTaylor]

Since you have a computer why not just type in Microphones and then take an hour to read all of the info that pops up...

Willie

I've done that, but it seems every thread recommends different mics based on different requirements of the situation. Some love the KSM32, some swear you need a KM-184, etc...

So I posted my particular considerations (budget and dealing with drums on stage, etc), and I'm getting good advice based on them-- stuff different than I've seen in the past threads.

[JuddTaylor]

I like the AT AE5100 a lot (excellent large diaphragm condenser in a small package), but it is not that great where you need to eliminate bleed. it has quite a wide pickup pattern and off-axis rejection, while OK, is likely not going to cut in under the circumstances you describe.

Certainly Beta 57's or similar super-cardiod dynamics would be a safe bet.

If you want to stick with a condenser, though, you options are somewhat more limited...eliminating bleed would seem to be a major priority here. You could spend a lot of $$$ and get a Neumann KM-185, but there is a lower cost option that delivers very, very good results for a fraction of the price:

Peavey PVM-480

These are something of a hidden gem. I've since acquired a couple more, and used them in very challenging conditions for instruments, also as an overhead boom mic on interviews.... they're usually overlooked, but they're a really useful mic at a very reasonable price. Thy sound as good as pretty much any SD condenser in the under $400 each range, and have superb off-axis rejection making them ideal when you need to cut bleed or isolate sources.

Man, that peavey sure checks off most of the boxes. $130 on amazon right now, too. Might be perfect for my application. There's someone selling one cheap ($50) local to me, definitely worth a shot.

[almeriastrings]

As a general rule... when living miking in close proximity to drums or other very loud sources, you need to either a) Be right on top of the mic (that allows you to reduce gain, but will add to proximity effect, causing a 'bass boost', which is easy enough to roll off) or b) Use a very directional microphone with the best side rejection possible (note: hyper and supercardiods will have some rear pickup, but as you are using IEM's this will be less of an issue than if you were using wedges). As always, you have to experiment a bit to find the 'sweet spot'. Personally, I would not use either KSM32 or a KM84 next to a drum kit. I've used both a lot in various situations, and they are great mics, but they'll pick up a substantial amount of spill/bleed in that kind of situation. There are certain mics that have a deserved reputation for really good off-axis rejection, and those would be the ones I'd bee looking at for the purpose you describe. Among dynamics, the venerable Beyer M201 is always worth bearing in mind (though it has a fairly low output) and among condensers, the Shure Beta 181S often works, and you can mount the little DPA4099 on a stand clip to give an unobtrusive but high quality result with very good rejection too. Any of these would get the job done, as would several others. I have quite a few of these mics myself, and still prefer the Peavey in many cases, despite it being far, far lower in cost. It just works.



That's my DPA on a it's stand mount...

[dhergert]

I also use the Sennheiser e935 and like it a lot. We have two of them. We typically reserve them for our vocalist/guitarist (who is my wife) and for our vocalist/fiddler, because it does vocals so well, but I'll use one for banjo/mandolin when just my wife and I are performing. I also really like and use the Audix OM2, they are a little less hot than the Sennheiser e935 but more than hot enough for banjo/mandolin.

[Rob Roy]

I'm in a similar situation at my church. I use an Audio Technica Pro 37. Small diameter condenser on a boom. Very accurate, excellent pickup range, made in Japan, <$200. I've used it successfully on acoustic guitar as well.

[banjoboy]

I'm in a similar situation at my church. I use an Audio Technica Pro 37. Small diameter condenser on a boom. Very accurate, excellent pickup range, made in Japan, <$200. I've used it successfully on acoustic guitar as well.

I second on AT Pro 37.

[Groundcoat]

I like AKG condenser mics and we use the P-170s at our church to mic the piano, chellos and violins. Sweetwater has them for chump change but don't let the low price scare you off. https://www.sweetwater.com/store/det...ser-microphone. Highly recommended from a real-world user.

[kymandolin29]

akg cs-1000

[JuddTaylor]

So far that PVM480 has worked out really well.

However, the dry signal is a bit harsh, but with a cut around 8.8k in my helix it sounds really good. The rejection is everything I'd hoped for so far.

[almeriastrings]

So far that PVM480 has worked out really well.

However, the dry signal is a bit harsh, but with a cut around 8.8k in my helix it sounds really good. The rejection is everything I'd hoped for so far.

Yes, the rejection is fantastic. Generally speaking, only relatively light EQ is needed with these. Nothing too extreme. You always have to tweak a bit, especially with mando/banjo. Very good mic overall for live use.

[TonyP]

The PVM480 was my goto for mandolin for 20yrs until I got a Oktava 012 with a hyper cardioid capsule. It is great for guitar too as its usually hard to get good volume before feedback with acoustic guitar. But if there is nobody else and I'm in a very loud situation the 480 is still my choice. I've used it with a fully amplified band w/drums where I was the only condenser on stage and as long as I work it tight, and watch stage placement, no feedback and good signal.

[pops1]

So far that PVM480 has worked out really well.

However, the dry signal is a bit harsh, but with a cut around 8.8k in my helix it sounds really good. The rejection is everything I'd hoped for so far.

Where are you placing the mic for your mandolin, I like to mic behind the bridge toward the tailpiece. In otherwords behind my hand and not at the ff holes or oval hole, but in the center of the mandolin. It is much warmer and plenty of power.

[Pick&Grin]

For my 2¢, I've been very happy with my Shure SMS94 Instrument mic. Get great sound out of it, paired with my Fishman Loudbox Mini. Also, even as a tall guy (I'm almost 7' tall) it can pick up both my voice and mandolin with ease.