I need a good mic

[Rounder0044]

I am looking for a good mandolin mic to use with my band. We are using 1 large diaphragm condenser mic made by Neumann for vocals, and the banjo player uses a shure small diaphragm. Should I go with a small diaphragm or just use an sm 57? Any suggestions will be greatly appreciated.

[Cheryl Watson]

An sm57 is fine for mandolin. The best things about it are that it is inexpensive and it is quite good (for a mic) at reducing feedback. Worst things are it's lack of transparency and it needs a good amount of wattage to get enough volume. If your preamp/amp/board is of very good quality, then that helps a lot.

Another choice that is more transparent is the Shure SM81, but it costs more.

I use the Neumann KM140 and highly recommend that. It is quite feedback resistant and is very transparent sounding. Downside is the cost. I bought two on Ebay used and have had great luck with them. I would not use them in a bar situation or anywhere that the audience would be up close, but I never play those kinds of gigs.

[Rounder0044]

Thank you very much. I was looking at the 81 just yesterday. This will help.

[AlanN]

No mic suggestion, but I like yer handle!

[WJF]

As a long range strategy, it would be great if you could get both a dynamic mic like a Shure Beta 57 *and* a small diaphragm condenser.

In my experience, condensers offer really great clarity and transparency of sound but some rooms that you'll play in will just hate them and you'll experience all kinds of feedback issues before you get the kind of gain that you want - that's where a dynamic mic will come to the rescue. Dynamic mics typically offer better gain before feedback but at the price of a small drop off in clarity.

FWIW, I too am a huge fan of the Neumann KM-184 but typically only use mine at home for recording. At a far more affordable price point, I've had good luck with the MXL-603 and I've also heard good things about Octava mics. For a dynamic mic, my 'go to' is the aforementioned Shure Beta 57. I currently use (and deeply love) a Shure Digital Wireless system with a DPA-4099 mic.

Hope this helps! :)

[Rounder0044]

Ok probably will go with an sm57 for the time being or possibly an sm81. I'll try both. And AlanN glad you caught the handle lol

[mandobassman]

One of the best mics I have ever used for mandolin also happens to be one of the cheapest. It's a small diaphragm condenser from MXL, which is Guitar Center's house brand. They sell the large diaphragm 990 and the small diaphragm 991 as a package for $99. Both of the bands I play in use the 990 for vocals and our mandolin player in the one band uses the 991 for mandolin. He loves it and he gets a huge amount of volume. I think the mics can be purchased separately fro $79 each, but why would you. We have used them both for several years with great sound.

Wow! I just found the package at Musician's Friend for $69. Here's (http://www.musiciansfriend.com/pro-audio/mxl-990-991-recording-microphone-package?src=3WWRWXGP&gclid=CPiqs4rcyLcCFQug4AodnTEA0Q&kwid=productads-plaid^34106004242-sku^273166@ADL4mf-adType^PLA-device^c-adid^14207118602&tandt_rdir=1&cIM=true) a link.

[almeriastrings]

There are a lot of good mics out there that work well with mandolin. So much on which is "best" does depend on the room/venue, however. If looking to cover most situations, having both a decent dynamic and good condenser available does make sense, as suggested above. The Shure Beta57 (just make certain you get the real deal, not a fake) works well, and has a tight pickup pattern that resists feedback well. It is also tough and affordable. In really bad venues, it can make a big difference. With condensers, personally, I like the Shure SM-94 on mandolin and guitar for live use. Primarily because I've found them to be somewhat more feedback resistant than the SM-81. For recording, the SM-81 has the edge, however. Mics for stage and studio have different demands.... for live use, you certainly need something that is capable of withstanding the kind of handling that can happen in those situations, and which sounds good without costing a fortune. Mics can get dropped, cables pulled, stands knocked over... all kinds of stuff, and you really don't want a $3,000 Schoeps on there if they do.

[Michael Weaver]

I carry around an Audio Technica AT2020. You can use it for just about anything. I've used on stage and in the studio a lot. I have other mics, but this is my preference for most stuff.

[mandotim1955]

I have a lot of mics, and my favourite tends to change around a fair bit. Current belle of the ball is the AKG Perception 170 small-diaphragm condenser. These are the 'budget' AKG range, but are Austrian designed and Chinese built to a high standard of quality. To my ears this mic is accurate and sensitive, with better feedback rejection than many condensers. I have a matched pair that came with a stereo bar and a good quality boom stand for £100 delivered.

[arketah1]

An sm57 will be a good option for mandolin.

[mtm]

An sm57 will be a good option for mandolin.

Hate to take over the thread, but I'm just now experimenting with mics using GarageBand. My needs are minimal, but I got an SM57 the other day and use an ART Tube MP Project Series interface. With the mic as close to the mandolin as possible, I'm noticing that I have to put the gain all the way up on the interface... with the 'boost' on, to get a reasonable signal in GarageBand ... and that signal is pretty weak. Same with vocals in the mic (for fun).

I also have a MandoStrat, and put mic right on the grill ... and still get low signal in GarageBand, unless I put the amp volume to unhealthy levels...

thoughts?????

This "gear" thing is complicated...

Thanks

[Chip Booth]

I am not a fan of the SM81 on mandolin, I think it sounds shrill, and doesn't have the clarity I expected. I prefer a Neumann KM184, but also enjoy using the AT 4033 or 4050. An SM57 is fine, it is certainly a lesser choice, but still solid for road work, or when background noise is more of an issue. I don't leave home without one.

[mandroid]

Bought a Pair of these http://www.rodemic.com/mics/nt5-mp .. rugged Case included

but they are sold as an each as well .. http://www.rodemic.com/mics/nt5-s ..

higher sensitivity than a dynamic means the mic doesn't have to be as close .

but that may mean more, other sounds are also amplified.

SM 57 with a foam windscreen means there is a Bumper to soften bumps
into the Top as you try to get close to increase volume, for solos..

wondered why some Pros have scratches around the lower F hole of their Mandolins?

[almeriastrings]

Don't want to wander completely off-topic, but one reason why folks often have very different views on mics can be down to subtle differences in the input impedance of the preamp or interface being used. Some mics are extremely sensitive to this, and can sound almost like a completely different mic when matched to a different input impedance. That's one reason I prefer pres that have a variable input impedance, either switched (as on the Focusrite ISA or UA 6176) or continually variable. Another thing that makes a difference is whether the input is transformer based or not. Obviously, this shows up best under studio conditions, but extreme incompatibilities can also reveal themselves in live situations. These differences are significant. Try it yourself if you have access to a pre with variable input impedance. You can often hear some remarkable changes.