Miking my mando [Archive] - Mandolin Cafe Forum

Darren Kern

Oct-31-2007, 4:28pm

TonyP, I can relate to what you are saying about competing with electric instruments. #I've never had problems in the past when it was just a banjo, guitar, and bass... but the group I'm playing with now has a drummer, 2 Strats, an electric bass and an acoustic electric guitar, and I have to beat my mando to death just so you can hear faint mandolin notes every once in a while. #I like the sound of playing through a mic, but I am going to have to go electric somehow, if I am ever going to be heard. #Either a pickup, or just building a solid body electric mando.

Oh, and my experience has been not good at all using a 57 for a mando mic.

mandolirius

Oct-31-2007, 4:41pm

I've been using the 57 on stage for several years. On it's own, it's adequate. But I've been running it through an ART Tube preamp, a preamp designed to work with mics, and it does. You get a fatter, warmer sound (tubes) and a big db boost (more volume) plus you can control your own volume level from the stage, which is good for small gigs when there's no sound person.

I also bought the magnetic windscreen and it's great. It stays on the mic all the time, so I can "eat" it. The closer the better!

I've used better mics, but they've all been condensors and as such, are prone to feedback in small rooms with strange speaker placement, which describes a lot of clubs and restaurants.

mandopete

Oct-31-2007, 4:46pm

I've used better mics, but they've all been condensors and as such, are prone to feedback in small rooms with strange speaker placement, which describes a lot of clubs and restaurants.
BINGO! That's why I like the SM-57.

jaydee

Oct-31-2007, 4:50pm

I've been using the Beta 57 and I love it. It costs a little more, but it gives you a more detailed sound than the regular 57. Either way you'll have a great and affordable mic that is sound man-proof.

Jeremy

imstrider

Oct-31-2007, 4:53pm

I think you'll be happy with the SM57. In terms of placement, I like to arrange the mic so I could stand with the treble "f" hole (on the tailpiece side) was right in front of the mic.

I played a few shows where the sound person liked to mic from the bass side "to get more bass." I found it annoying as heck to have to slide under the mic to play.

EdSherry

Oct-31-2007, 6:10pm

I've used a 57 for instruments and a 58 for vocals for years without ill effects. #Are they the best mikes in the world? #By no means. #Are there better "live" mikes for instruments? #Sure. #But given what you have, you'll do just fine.

In my experience, aiming the mike a little toward the neck of the treble f-hole works better than aiming it directly at the f-hole, but YMMV.
I second the recommendation for a windscreen on the 57 to avoid scratching the instrument if you get too close. #.

Crowder

Oct-31-2007, 6:25pm

I used to play in a band that was bass, drums, acoustic guitar, electric guitar and me on a Flatiron F5. I used a Barcus Berry magnetic pickup stuck to the top of the instrument as close to the end of the fretboard as I could get it. Used two layers of double-stick carpet tape with no ill effects to the finish (don't try that on a varnish instrument). I ran the pickup to a Boss EQ-7 pedal that I used as a simple volume boost with some key frequencies accented, and I only kicked the pedal in for breaks.

While this rig didn't sound at all like miking the instrument, it never sounded like an electric mandolin either. It was very servicable in the context of that band.

mandolirius

Oct-31-2007, 6:34pm

<I've been using the Beta 57 and I love it. It costs a little more, but it gives you a more detailed sound than the regular 57.>

Yes, I should have mentioned I used the Beta 57, not the regular 57. I think there's a major difference.

<I second the recommendation for a windscreen on the 57 to avoid scratching the instrument if you get too close.>

The thing I've noticed it that with the windscreen, I spend less time being distracted by checking out my distance from the mic. With the windscreen I just move in close for breaks. If I get too close and bump the mic, there's no sound and I just back off a bit.

steve V. johnson

Oct-31-2007, 6:46pm

Mandolirius wrote, "I also bought the magnetic windscreen and it's great."

"Magnetic" windscreen? Could you direct me to where I can see one of these?

Usually dynamic mics, which use magnets inside, and other outside magnets in close proximity don't get along all that great.

stv

mythicfish

Oct-31-2007, 8:17pm

Does the "magnetic windscreen" attract or repell the wind? http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

Bill Van Liere

Nov-01-2007, 6:58am

Couple of thoughts on the 57

In the early Hot Rize days Tim O'Brien used a 57 to great success, of course a lot of that great sound had a lot to do with the rest of the band. The Nugget didn't hurt either.

Last Saturday I played a private party in a pole barn, pretty typical venue for me to play, complete with a PA setup nightmare. Very hard surface with nothing to absorb the sound, very loud crowd to boot. The sensitive condensor mics all stay packed in the case. The Beta 57 and my old 58 perform very well without a hitch. Mad4mandos, I think a 57 and 58 are a great starting point, there certianly is better sounding stuff out there, but it comes at price that is not always money. I sure would not go out to an unknown venue with out my old Shure mics.

Snakebeard Jackson

Nov-01-2007, 7:26am

pound for pound the Sure 57/58 are the best mics in the world. O yes there are fancy mics and mic ment to be used for this or that purpose. But not matter what your picking, singing, or blowing, a 57 can do the trick. It's cheep, and sturdy.
It's true an electric band needs an electric (of whatever type) mandolin. A a one mic band needs something condesor. But considering all the uses and nember of people who use them I would have to say the 57 is the best mic around, pound for pound.
I once for got I changed mandolins and cases for a gig once. I was stuck without a pickup playing in an electric band. Shucks I just grabbed out the old 57 and it got me through the night. I couldn't do any facny solo stuff, but at least my mandolin was heard.

mythicfish

Nov-01-2007, 8:34am

"pound for pound the Sure 57/58 are the best mics in the world"

Thats how I set my fees ... " Sound by the Pound". http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

Tim2723

Nov-01-2007, 9:05am

I love the 57/58. There are lots of good mics out there, many being optimized and designed for special applications, but a 57 is always a solid mic. I've yet to meet a sound tech who didn't know exactly how to deal with them. These things are omnipresent. They show up everywhere. I guess that says something for them.

steve V. johnson

Nov-01-2007, 9:14am

"Thats how I set my fees ... " Sound by the Pound"."

You don't charge by the note any more?

http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

I'm still growing curiouser and curiouser about the magnetic windscreens...

stv

TonyP

Nov-01-2007, 9:14am

Steve and others on this board are WAY more knowledgeable than I, but somehow my experience with 57's is 180deg out from you who like them.

In both bands I work with, the banjo players came from the dynamic camp of PA. 57's/58's, and they had their usual setup. All the rest were my mic's, Oktava 012's, Peavey480 and AT4033. I've had problems with both banjo's setups, believe it or not. Can't hear the banjo and can't get enough gain in the frontend to get them balanced with the condenser's. All the condensers were running 1/3 on the pre, with the slider set at 0db on each channel(stable, great headroom, no noise). But, the Shure's were having to run the pre WIDE open, or close enough to cause hiss and their slider almost full up. And when I had feedback problems, to my surprise it was the banjo players channels! So, I started running 012's on the banjo's(left the vocal to the 58 and BTW tried Beta's, same prob. ), and no more feedback, realistic gain structure, and they both commented how their banjo had never sounded so good(less eq. and messin' for me, and they didn't have to eat the mic). So I guess if I was running dynamics on everybody it would work out different, but from just a hifi point of view, less input signal, means more noise and squirrellier feedback/noise probs. More probs. for me.

The times I saw Hot Rise, Mr. O'Brian was using a 414 for voice, and mando. That's what inspired my setup. I had an early 414 that was a collector mic, but couldn't stand the fear of if something happened to it. When the 4033 came along, it wasn't as good, but darn close. It's been a workhorse for me, along with the rest of my mic's.

My stage mic of choice for years was an early Peavey480 hyper cardioid. The only problem I ever had was whether or not the soundguy had phantom power. Never had a problem with feedback on a good rig. And when we opened for AKUS back in '94 and the rest of the band all had 57's on them, I had my trusty 480. That was the loudest monitor sys. I'd ever played through and no feedback. The sound was true and was easy to control as I didn't have to eat the mic.

I also use a windscreen to protect the mics. But the idea that it protects from making a noise when you get too close is kinda funny. If you ever hear a weird flatulent sound, that's the sound of a windscreen rubbing the top of the instrument. Funny and embarrassing at the same time http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

theBlood

Nov-01-2007, 10:00am

All the condensers were running 1/3 on the pre, with the slider set at 0db on each channel(stable, great headroom, no noise). But, the Shure's were having to run the pre WIDE open, or close enough to cause hiss and their slider almost full up. And when I had feedback problems, to my surprise it was the banjo players channels! So, I started running 012's, and no more feedbac... http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

My experience is like Pete's. 57's and 58's produce a very weak signal and do not reject feedback like other mics. I used those for my initial gigs 5 yrs. ago and still use them on occasion.

If they were all you need, then why does Shure produce so many other models? Like the beta 87a which a lot of people endorse (+$200).

I have a couple of AKG 535's that are way easier to work with, but they are condenser mics and need phantom power.

Aside from brand names, though, a big thing to consider is the sensitivity and pickup pattern of the mic. To get good sound out of the 57 you've got to be right on it and not move while playing. Most condenser mics have a bigger sweet spot, and let you play a few inches away.

JY

mandopete

Nov-01-2007, 10:28am

Oh boy, looks like we gotta add SM57 to the list of of Gibson bashing, Chris Thile and What Is Bluegrass.

Use what works for you.

mandroid

Nov-01-2007, 10:36am

Mad4 offered what he had, 2 SM mics.
perhaps the speculation will be brought to heel if he comes back in,
and gives an idea of the situation, also.

http://www.mandolincafe.net/iB_html/non-cgi/emoticons/rock.gif

mandolirius

Nov-01-2007, 10:38am

<Mandolirius wrote, "I also bought the magnetic windscreen and it's great."

"Magnetic" windscreen? Could you direct me to where I can see one of these?

Usually dynamic mics, which use magnets inside, and other outside magnets in close proximity don't get along all that great.

stv>

It was a listed accessory, so I bought it when I got my Beta 57. It attaches by magnetic force, rather than having to be fitted over the mic like a windsock. It's more stable and secure. I'm not a technical expert, but I can report it's caused no problems in the two-three years I've been using it.

steve V. johnson

Nov-01-2007, 10:46am

Well... # I don't really have a dog in this fight, but...

In a stage situation with all acoustic instruments, well controlled monitors or in-ear monitors, few common, run of the mill, dynamic mics will have output gain to compare with modern condensor mics.

From reading Tony's posts and corresponding with him about audio, I can attest that he's got a good (and hard-earned) working knowlege of the art of the PA, and especially of his own particular system, which he's assembled with great care and some difficult trial and error, too.

From his post here, it appears that his system of hardware and mixing, is set up for his condensors, and so I think that setting some my favorite dynamic mics onto that stage would probably have the same result. #So, for my nickel, it's a little bit of apples & oranges...

For my part, I really don't like using condensor mics on live stages. #When I do PA work it's usually for events that have several bands, and I can't assume that all those players (acoustic -and- electric) know very well how to use condensors onstage. #They are accustomed ... no... -trained- to use various dynamic mics in club environments where Shure 57s & 58s are a luxury. #And they're generally trained to play in spite of dodgy onstage monitoring. #So the monitor mix is (always, but even more than usually) #critical, and I'd rather have lower mic output gains in favor of more flexibility to create onstage monitor mixes. #That's just my own personal choice of working methods.

When I do PA for my own bands, I do use condensors in a couple of specific applications, along with dynamic mics, but the condensors don't define the levels of the whole presentation. #They do affect the way I have to set the monitor levels, so they foster compromises for me that way.

In my live music/audio world, '57s and '58s are ubiquitous and they're fine. #I own one of each because one never knows when they might be just the right thing in the studio. # There are so many good mics available now, and at prices that are more accessible than ever before, that there's a mic for every application, every budget, and every taste.

There's a good lot to learn about 'mic technique,' that is, how to best use mics on stage, and if a player isn't working with the same PA and the same person running it, there are a zillion more variables to learn to deal with. #I have great fun with it, it's quite an exercise... # http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

No matter what the mic is on the stage, if it's on a stand in front of an instrument, using a windscreen to keep nice instruments from getting "mic bites" IS a good idea.

stv

theBlood

Nov-01-2007, 12:36pm

Well... I don't really have a dog in this fight, but...

In a stage situation with all acoustic instruments, well controlled monitors or in-ear monitors, few common, run of the mill, dynamic mics will have output gain to compare with modern condensor mics.

For my part, I really don't like using condensor mics on live stages. When I do PA work it's usually for events that have several bands, and I can't assume that all those players (acoustic -and- electric) know very well how to use condensors onstage. They are accustomed ... no... -trained- to use various dynamic mics in club environments where Shure 57s & 58s are a luxury.
...There's a good lot to learn about 'mic technique,' that is, how to best use mics on stage, and if a player isn't working with the same PA and the same person running it, there are a zillion more variables to learn to deal with. I have great fun with it, it's quite an exercise... http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif
stv

I know what you mean, Steve. When I'm joined in gigs I'm often having to tell people to back off that condenser mic. It gets intense. In this case, though, the guy was wanting a personal instrument mic, and the stronger signal might be desired.

The other statement about PA technique is quite true, also, though. It sounds bombastic, I guess, but I find that most people haven't really tested their systems and gained much understanding, or even looked at their manuals. And in that context, sensitive mics with phantom power requirements aren't going to solve anything.

By the way, I occasionally use my Trace Elliot Ta100r, are you the guy that used to talk about those amps?

TonyP

Nov-01-2007, 1:06pm

I know Pete, I wasn't going to get into this, but it keeps coming up, and you are ABSOLUTELY RIGHT, use what works for you. But I just have to put out there that there's another way to skin that critter. And depending on the way you are used to it can be good or bad. And mic technique is an art that should be practiced just like playing your instrument. Even the folks who say they never want to play out want to record, so there you go.

I've learned my lesson believe me, I don't bash the 57's, they just don't mesh with my particular way of playing mando. And there might be others out there that find the same. All I'm doing is giving the other side of the aisle. Not trying to foment war. I qualify everything and give my experience. It just keeps coming up, heck twice this week. It's all gris for the mill, right?

The whole process of making music has dragged me into areas I wouldn't have gone, given my druther's. PA sound is something I've decided to take on, for me, because NOBODY I play with has a clue, and everybody was unhappy before. Now I do my best, the way I know how, to make everybody sound good, and that always make everybody happy. The struggle is having to teach the others what I need to help them(good mic technique) without being a jerk. That's been a lesson in itself. So much to learn, so few brain cells.......

Mandomax

Nov-01-2007, 1:20pm

Yall hit the nail on the head re: mic technique. My bandmates and I complained constantly about our live sound, but until we started using our PA at band practice and not just gigs, we continued to suck. You can have the best mic in the world for your application, but if you don't know how to work it, you'll just be disappointed. Just wanted to chime in there, because we have been practicing with the PA at our weekly practices for only a month, and our gigs have had a measurable improvement. I am not a fan of the SM57s either, but a lot of that had to do with not understanding how I needed to play to and with it. I guess it's that old adage, "A good craftsman never blames his tools." I noticed that even when we were playing big fests with pro soundmen, our sound still sucked. That was a clue...
-Max

EdSherry

Nov-01-2007, 4:14pm

Tony and Max -- I agree wholeheartedly. #In my experience, far too few musicians and bands LEARN how to work the mikes and work the PA to get a good sound. #They'll spend hours figuring out lead breaks and harmony lines hanging around the living room without a PA, then wonder why all of that doesn't translate to playing live on stage into mikes through a PA. #(And don't even get me started on monitors!)

Some of that, of course, is being at the "mercy" of soundmen (whether at clubs or festivals), who all too often are clueless as to what good acoustic music is supposed to sound like.

mandopete

Nov-01-2007, 4:59pm

Guess my point is that we have far too many threads here on the cafe that say what people don't like or what doesn't work and what have you. I don't really see too much value in these types of responses. I believe it's really more like your mother told you..."If you don't have anything nice to say, don't say anything at all"

Words to live by here on the Mandolin Cafe.

mandolirius

Nov-01-2007, 5:11pm

At the risk of being accused of nitpicking, there is no "k" in microphone. It's a mic.

Mike http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif

RobinG

Nov-01-2007, 5:23pm

I have the same- Shure 58 for the voice and 57 for the mando. It works fine in a theatre setting as long as I don't move too much, but in a noisy bar, the sound craps out- and I want to move when I am playing! I can be on the verge of feedback and still not heard too well- also, two mic stands are a problem- I have heard about goosenecks... Any recommendations?
Also, do good condensors for live performance avoid picking up the voice? I have my mando reasonably high and like to lift it up for some licks/soloing (show off!) Can one mic do for voice and mando?
best
Robin

EdSherry

Nov-01-2007, 5:34pm

Mike -- Yes, there is no "k" in microphone, but there is a "k" in "miking", and "mike" is a commonly-used shorthand for "microphone" (as, of course, is "mic"). #See
http://en.wikipedia.org/wiki/Microphone

And, of course, the common spelling of a plural form can differ from the common spelling of a singular form. #I can write either "mike" or "mic" and people know what I'm talking about. #If I write "mikes," people know what I'm talking about. #If I write "mics," people often don't.

PS -- No offense intended. I'm as likely as anyone (and much more likely than most!) to insist on "pedantic" distinctions.

david blair

Nov-01-2007, 5:39pm

After buying a good sounding mandolin and practicing hours on end why not put more priority on a good mic and pickup? A simple removable pickup and a countryman instrument mic is the bomb. Sam Bush sounds pretty good that way. For a stand mounted mic the Neumann kms 105 is incredible, and can be used for vocals or instrument.

mandroid

Nov-01-2007, 6:00pm

RobinG,
There are mid shaft booms, that clamp onto the side of the mic stand.
It clamps onto the large tube portion below the height adjustment clutch on the microphone stand.

mandolirius

Nov-01-2007, 6:03pm

<PS -- No offense intended. I'm as likely as anyone (and much more likely than most!) to insist on "pedantic" distinctions.>

ha-ha, none taken. It's probably only guys actually named Mike that care, and maybe not that many of them http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

and yeah, the verb is "miking". what a language!

TonyP

Nov-01-2007, 10:08pm

Robin, I couldn't find what I was looking for in a boom in stores or even online, so I took the base off of one of my extra stands(it was one of the three legged ones). Took off two of the legs, leaving one. Turned it upside down and slipped it onto the main shaft and used it as my boom. It even has a telescoping tube in it with a wingnut lock. So it adjusts easily up and down, in and out, folds up nicely, didn't cost me anything, and doesn't look too bad http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

The thing is, there's great mics that can pick up everything, but with that comes complication and expertise to make it work. Dunno what the answer for you is.

steve V. johnson

Nov-01-2007, 11:11pm

John the Blood asked, "By the way, I occasionally use my Trace Elliot Ta100r, are you the guy that used to talk about those amps?"

I ... don't think so... #I don't think I've ever been in a room with one. #I may have been in a discussion about 'em, tho. #I've slept since then... sorry... # # http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

Good balance on the PA stuff, thanks.

stv

steve V. johnson

Nov-01-2007, 11:14pm

And mic technique is an art that should be practiced just like playing your instrument. Even the folks who say they never want to play out want to record, so there you go.

.... [edits] ...

The whole process of making music has dragged me into areas I wouldn't have gone, given my druther's.

Man, o' man, ain't it the truth?!?

So much of the instrument/player/electronics interface starts as a defensive strategy. #But at some point, when we play thru PAs (or in recording studios) it has to come to part of the drill, integral to the process of making music.

It seems to be synthetic, maybe even false, to have to learn to work the machines too, but ... when you know what the lowly '57 ( just for example ) does because you know how to work it onstage, then the difference between that one and another one has a context and makes a lot more sense.

So much to learn...

stv

Bill Van Liere

Nov-02-2007, 7:37am

So much to learn..

stv

Yup, and learning to get along with an SM57 is a good thing to learn for many of us who wish to propell our sound in a variety of situations. I guess that most pros can do just that. Pretty common mic that just seems to be not going away anytime soon.

Shalebot

Nov-02-2007, 8:40am

I've posted on a few of these SM-57-esque topics now, but I'll reiterate.

The quality of the source and the PA itself are by far more important, when weighing your options with microphones.

The producers that gain my respect are the ones that are preaching refinement of the source and the room, and learning the equipment that you have through and through before you go out and buy something else.

This goes for live sound, as well. If your source / PA aren't great, running expensive condensers won't make much of a difference; at least, not a cost-effective one.

As for 57's themselves? Yeeach. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/coffee.gif

steve V. johnson

Nov-02-2007, 11:17am

Re: mic stands

I tried a couple of the little arms that clamp onto the main post of a standard mic stand. #They're ok, but didn't really satisfy, so I got a couple of shorter stand shafts (24"-30" I think) put them on a weighted base and put a regular boom on them, so that they reach up to instrument height. #

They're a little easier to get right onto the instrument than a regular boom stand down, and my bandmates say that they're easier to adjust to their instruments. And they let folks see the players a little better without having to look thru a forest of stands.

You can also do this sort of thing with a regular height main mic stand shaft and a shorter boom on top of it. There are lots of combinations...

I started this for my wife Min's bodhrán, because we often play on really small stages, and gigs where we sit down to play. So we began to carry a couple of short stands made up of parts to get the right heights.

Check your favorite all-purpose music hardware retailer, and if they have good pics of the various parts online it's pretty easy to put some stands together that will fit your mandos, etc.

'Course ... it's yet more bloody hardware to buy ...

stv

theBlood

Nov-02-2007, 2:22pm

John the Blood asked, "By the way, I occasionally use my Trace Elliot Ta100r, are you the guy that used to talk about those amps?"

I ... don't think so... I don't think I've ever been in a room with one. I may have been in a discussion about 'em, tho. I've slept since then... sorry... http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

Good balance on the PA stuff, thanks.

stv
Different stv, I guess.

JY

Gerard Dick

Nov-02-2007, 2:40pm

Les Schatten of Schatten Designs in Kitchener Ontario builds a fantastic bridge pickup. I play mine through a Baggs Gigpro pre-amp to boost the signal so it's not so tinny. I have to compete with 2 electric guitars and a very enthusiastic pianist who learned her craft from a blacksmith I think. Anyway a mike just didn't do it. The bridge pickup by itself didn't sound right but the pre-amp sorted that out nicely.

TonyP

Nov-02-2007, 2:42pm

On the stands, I've always hated the usual height for instruments, and I don't care how tall you are. The thing of having to come in from the side sux. We use those cheap stands that have the folding arms for the base because they are WAY lighter, fold down small and are cheaper. So, I just took them apart and cut the main inner and outer tube down to like 24", and took off about 10" off the boom. They now stand in front of the players and there no more forest of stands and is way easier to adjust. What's a mystery to me is they sell shorter stands. But the standard tall stand is $20-$30, and the short ones are like $80! I only have one tall stand now, for the lead singer/guitar/bass and it has my homemade stalk on it too for guitar/mando(when I sing lead). I guess I could get a pic together if anybody wants to see it's quite handy.

steve V. johnson

Nov-02-2007, 9:16pm

John the Blood said, "Different stv, I guess."

Or... my Swiss-cheese memory...

sorry,

stv

steve V. johnson

Nov-02-2007, 9:17pm

Well done, Tony!

stv

Romkey

Nov-02-2007, 10:18pm

I have a 57. It's a good mic. I have an AKG CS 1000 that I've used a few years with the plastic inserts that make them direction. Just got some Rode NT5s. Very nice mics and the best of the lot, personally speaking.

Seth Austen

Nov-03-2007, 7:40am

I have a 57 and 58 that I bought in the mid 70s when I started gigging. I often use condenser mics when we play concerts, but for many gigs, I still use the 57 and 58. They're always in my equipment bag.

Seth

Gutbucket

Nov-03-2007, 7:52am

My band uses Beta 57's on all the instruments and some vocals. Never had any issues with them. We use them thru a mixer into a couple of Bose colums. If we suck, at least it's a good sounding suck.

Jim Hilburn

Nov-05-2007, 8:14am

Here's a quote from a 1980 article about John Duffy.

Duffy's mandolin gets the same mic placement for both studio and live preformance."I like to keep the mic between my hands, up toward the 18th fret. It seems to pick up a balanced tone from the instrument there". He says that placing a mic near one of the f-holes will cause an overbalance of bass or treble. "And also, I don't I don't stick the instrument right on the mic. Let the mic be turned up. Hold the mandolin back so the sound of it will carry to the mic".
A photo of him on stage shows him playing into what I think is a 57 with a windscreen.