Condenser mic

[hcroft]

I am trying to get a little info and some reviews of which condenser mics have worked well for others. The band I play in is mando, two guitars, bass, and fiddle – occasionally banjo and another fiddler- explaining why we need one mic. We have previously played through pickups and amps and want to be a little bit more versatile for different gig situations. We play outside, in bars, and theaters.

My question is basically which mic would you buy?

I appreciate all the help I can get.

[MikeEdgerton]

Take a look at these threads for some past conversations.

[mandroid]

N.B. : You , as I understand, will have to lose any monitors facing back at you ,
with any LD mic sensitive enough to hear all of you.

How much are you willing to spend ?

[MWM]

I've used the AT-4033 and the 3035 often. They both work well for groups and have similar wide polar patterns. The 3035's (under $200) work probably as well as the 4033 for live use and cost far less. I own 2 of them as they're worthy recording mics as well. When we use a single LDC I always use a Sabine Solo feedback unit. It really helps volume and I'd almost call it a must for LDC mics. Keep your speakers out in front pointing away from the mic and trust your ears & bandmates as your only monitors. Takes some practice but you'll learn how far way to sing and play. I prefer a single mic whenever possible.

[Doug Edwards]

We've like the smaller Shure KSM-109 ($189) with our five piece group. It has good side address and sounds very clear. Feedback is not as much of an issue and we can get some monitor at our monthly venue.

[Hallmark498]

Sure ksm 44 with a couple of 109s would be a hot setup. You could use the 27 in place of the 44 to save some bucks.

[Rick Crenshaw]

We've had surprisingly good luck with cheap AKG Perception 200's. Use a small diameter condenser as a satellite for guitar breaks. The 200's have bass roll-off and -10 db switches. You'll want those. I paid 89 bucks for one, mint, on eBay. It picks up the bass well enough we don't have to mic it seperately. You need to PRACTICE with these set ups. You can't rely on monitors. You will be in a semicircle like a jam, though, so you won't really need monitors. It will help to have a friend in the audience to adjust the sound at first.

[Fred Keller]

My band's had good luck with AT3035 and AT4040 as well as a Studio Projects C3. All are solid stage mics that can give you some studio work as well.

I also disagree that you'll need to ditch the monitors. You'll need to be much more careful with them, you'll need a decent eq or two, and you'll need to practice hard with your gear but you don't necessarily have to ditch them.

[Gutbucket]

I second (or third?), the AT 3035. Great mic for the buck.

[hcroft]

Not looking to break the bank- but not going cheapo either.

[hcroft]

Thanks to everyone for the help.

[wayfaringstranger]

My band (5-piece, bluegrass) has had really good luck with the AT2020. In addition to sounding great, I think it's ideal for live sound for two reasons:

First, it's not a true large-diaphragm, more of a medium-diaphragm. The pattern is very forward-oriented; you can't be too far off to the side and still get picked up, but there's plenty of room to fit a trio of vocalists in front of it. I like that tight pattern: I find it's easier to control feedback than with some of the other LD mics that we've tried. We also mic the bass separately and have one small-diaphragm condenser mic off to each side (one for the guitar and one for the banjo), so all of the instruments are pretty much covered. Careful EQ, no monitors, and liberal use the bass roll-off switch on the PA. It's about as easy a setup as you can get.

Second, it's only $99 bucks. That means that it passes my "don't cry over spilt beer" test for most gigs, which is really my only hard-and-fast rule for mics for live sound: if some moron spills beer on my mic, it should cost me no more than I would make at that gig to replace it. Some of the larger online stores sell the AT2020 in a set (AT2041, I believe) with a decent small-diaphragm lipstick-tube condenser for ~$150.

[Mr. Loar]

Welcome. Condensers are really great for capturing the overall sound of an instrument. Octava microphones deliver bang for the buck.

[Rick Crenshaw]

We went with Shure 200 in-ear monitors. #Bought them all off fleabay. #Paid about two and a half hundred for one receiver/transmitter and about 120 for the seperate receivers. #They might be less now. #They work GREAT with LD condensors.

Just as cheap as monitors and can fit a dozen in a small tote bag if you needed that many.

[mandroid]

A local group uses 2 Cardioid pattern LD mics [AKG's I think]

side by side in an arc so as to have a wider place to gather the singers heads,
but still has a use of the lower sensitivity on the back side to reduce feedback [like mains bounceback]