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Thread: Ear Trumpet Mic: Louise

  1. #26
    Mando accumulator allenhopkins's Avatar
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    Default Re: Ear Trumpet Mic: Louise

    Quote Originally Posted by Astro View Post
    ...we got tired of bumping into each other and spitting on each other and jockying for volume in the mix and even straining voices to compensate...
    Hey, that stuff's half the fun!!

    But seriously, kids, when I talk to musicians I know about playing at Rochester Folkus with its one-mic requirement (Bill Destler, who's the main spark plug of the series, insists on all participants working with one Louise), I tell them -- especially the groups -- "Be prepared, be able to balance yourselves acoustically -- no one's going to 'turn you up or down' -- and that includes your instruments, not just vocals." The one problem we encountered with the five-piece group, was getting the Autoharp player to "bear down" a bit, playing with two guitars, harmonica and bass fiddle. A light touch is nice, but not when the single mic doesn't pick you up. The other issue is that they played seated, so couldn't move closer to the mic when taking leads.
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  2. #27

    Default Re: Ear Trumpet Mic: Louise

    Do you all think that an Ear Trumpet mic flanked by 2 SM 57s for breaks would work for a "single mic" situation with a little more space?

  3. #28

    Default Re: Ear Trumpet Mic: Louise

    That should work fine; although there are better options than the SM57 around these days. If you want to stick with a Shure dynamic, the Beta57A is a good step up from an SM57. My own choice was a couple of Rode NT3 condensers which worked well on guitar, fiddle and mandolin. Our banjo player was so loud he didn't really need a separate mic. (Or any PA whatsoever, really... ) Still loving my Louise though. I use it for the duo work I do with my wife, and it works brilliantly. It even works well with wooden Irish flute.
    Tim Mundy
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  4. #29
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    Default Re: Ear Trumpet Mic: Louise

    Quote Originally Posted by Astro View Post
    But in the end we got tired of bumping into each other and spitting on each other and jockying for volume in the mix and even straining voices to compensate. So we went back to individual dynamic mics.
    How many were using the one mic?

    The one mic show is cool to watch from the audience but I imagine what you describe is the more common experience from the musicians perspective.

  5. #30
    F5G & MD305 Astro's Avatar
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    Default Re: Ear Trumpet Mic: Louise

    Quote Originally Posted by Mark Wilson View Post
    How many were using the one mic?
    Four: Guitar/vocals; Mando/vocals; Banjo/vocals and Cajon.

    Obviously the cajon doesnt move and we eventually ended up micing him so he could be heard. Then we learned to dodge headstocks which is tough as we can be pretty dynamic -especially the guitar.

    There are many times in the songs where all 3 vocals are featured harmonizing and switching leads and it was tough to get everyone close enough and we strained our voices. Also when you are singing and therefore require to be fairly close but also playing different volume instruments its really hard to eq the banjo vs guitar vs mando.

    With all the other things involved at a noisy bar gig, it seems counter intuitive, but the single mic was actually a lot more work during the performance. Then if one band member has a cold, we are all hosed as spittle goes everywhere. So next we tried 2 condenser mics to give us more space and it helped as there was less vocal strain. Then we thought we needed to plug in the instruments and so finally figured what the heck, thats almost as many mics as we had before but with less control so whats the point.

    In the end we preferred our own personal space and it was actually just way easier.

    Not to say it wasnt fun to try. No regrets. Highly recommend everyone try it. We learned a lot about sound and even changed the way we do some songs from the experience. The sound actually was great and the eq became really good but it wares you out more during the performance.
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  6. #31
    Mando accumulator allenhopkins's Avatar
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    Default Re: Ear Trumpet Mic: Louise

    The great thing about a mic like these Ear Trumpets is that you and your instrument can be three to five feet away from the mic -- and still be heard clearly, with no feedback --in a quiet room. Which is why I find the one-mic set-up very nice for gigs like our Rochester Folkus concerts, but perhaps not-so-much for playing clubs with high ambient noise levels.

    No equipment, and no set-up, works 100% everywhere, which is why it's nice (if you can afford it) to have several options for mics, amplification, monitors etc. Our use of one Louise is closely related to the strong preferences of one of the concert series's sponsors; since I've been schlepping PA gear around for 40+ years, I tend to be a bit more pragmatic and flexible.

    Still, I would recommend the one-sensitive-condenser-mic set-up for certain situations. It does put a burden on groups to be able to do their own vocal and instrumental balancing acoustically, rather than relying on mic levels or proximity to make adjustments.
    Allen Hopkins
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    Natl Triolian Dobro mando
    Victoria b-back Merrill alumnm b-back
    H-O mandolinetto
    Stradolin Vega banjolin
    Sobell'dola Washburn b-back'dola
    Eastmn: 615'dola 805 m'cello
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  7. #32
    Spencer Sorenson Spencer's Avatar
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    Default Re: Ear Trumpet Mic: Louise

    We've been using one for the past year or so, 4 piece BG band. Still learning about how to best use it, and to trust it and keep placement agreements!. We have played a couple jobs in a cafe that can get a bit loud, but are able to make ourselves heard nicely with the Louise. Got a lot of compliments about the sound. We have also tried the Jeff Scroggins technique, with a Louise for vocal, guitar, bass and mandolin, and one other mike to the side for the banjo. Makes it a bit easier to move around on a small stage with only 3 around the mike. We really like the microphone, and done some recording with it, with good results.

    Spencer

  8. #33

    Default Re: Ear Trumpet Mic: Louise

    I've very skeptical about the feedback rejection. Looking at the polar pattern, there's no good reason they should reject any more than any other cardioid mic. But I concede I've never used one, everyone loves them, and I'm not as smart as I think I am.

    In fact, you could argue the good 'ole 4033 would be better given there's greater attenuation behind the capsule.

    Myrtle is image 1. 4033 is image 2.

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  9. #34
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    Default Re: Ear Trumpet Mic: Louise

    I think I read somewhere in a review that the mic attenuates some frequencies to reject feedback. It was something some folks didn't like about the mic. I have a couple large diaphragm mics and use a gorack to keep feedback under control, and it allows more volume without the feedback. I don't use them a lot, but they work well.
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  10. #35
    Registered User foldedpath's Avatar
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    Default Re: Ear Trumpet Mic: Louise

    Quote Originally Posted by SixPants View Post
    I've very skeptical about the feedback rejection. Looking at the polar pattern, there's no good reason they should reject any more than any other cardioid mic. But I concede I've never used one, everyone loves them, and I'm not as smart as I think I am.

    In fact, you could argue the good 'ole 4033 would be better given there's greater attenuation behind the capsule.
    True, but people buy them because they look cool. No other reason really, with the number of alternative mics out there that could do the same job, or better.

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