Hi Eric,
My favorite mics are my most recent ones
!
I’m more of a hoarder than anything. When I started taping 9 years ago, I started out with CA-11’s and I liked them so much that I got the CA-14’s. The CAFS, CSB and Busman’s I picked up when there were really good deals here in the YS. I rarely use them, and they see use when I am in non concert situations.
The other thing is that I rarely attend stadium concerts and I don’t really stealth. I’m 5’10”, so even if I place mics in a hat, it’s not high enough to avoid the clappers, wookies, talkers and the other denizens of concerts. So when I’m stealthing, while the rest of the crowd is having a great time, I’m the only one with a scowl on my face, thinking how the crowd is ruining the recording! That’s messed up.
Anyway, I guess I’m saying that I’m not the best person to ask about stealthing. I didn’t really assemble my mic collection with that intent.
I agree with nulldogmas, and in both situations, I would go with cards. In fact I would choose hypers which are more specialized, but are ideal in those larger venues when placed near the back. Personally, if I were free to move about, I’d get as close to the PAs as possible and have the mics pointed directly at the stacks. This essentially sacrifices ambiance for clarity (ie., minimizing the crowd noise, but having a flatter sounding recording).
Within my stable of mics, my go-to’s were the B&K (DPA) 4011. These are full sized SDC mics with non-removable caps. I really like the DPA > PSP2 combination. The intent of the MK5s>Nbox was mostly to setup in tight spots, and the fact that the MK5s can switch between card and omni was another attractive feature. The next consideration is size. If it’s a no-taping band, strong security venue, I would go with the CA-14 > CA-9200. If I wasn’t concerned about being caught, I’d probably go with the MK5 > Nbox.
But it sounds like you’ll be taping in situations in different situations than me, so you’re wondering which mics to get. If I were you, and to combine this thread with the other one, in those situations (and money is no object), I’d get the Schoeps MK4 or MK41 > Nbox > M10 and for the ultra stealth situations, I’d get hyper caps for your AT953’s.
Being a DPA guy, I would normally also recommend DPA 402x mics or their hyper card offerings, but the XLR connector is standard size compared to the Nbobs which are more stealthy. There are many variations on this. I could rattle off a few other “dream” configurations (eg. Gefell M21 > Nbob) but when it comes down to it, I am of the school that 90% of a successful recording is about mic placement. Buy the best gear that you can afford, and that makes the most sense for you size-wise, then start experimenting. The AT943’s are fine mics and they are the ideal size for your situations. The only other thing I would add is getting the hyper caps, just to have more flexibility when you’re placed further away from the stage. Going up to standard SDC caps increases the footprint which may make it more difficult (but not impossible!) to stealth.
Happy taping!
Ted
Thank you for the replies everyone. They are very helpful to me.
tedyun, which are your favourite mics out of the ones you have listed?
"B&K 4011, Schoeps MK5, Busman BSC-1 (K11/K21/K31/K41 caps), Church CA-14 (o, c), Church CAFS, Core Sound Binaurals"
Let's assume for the following sort of concerts;
1) Large stadium concert with a band like Metallica or ACDC. Standing in the mid section of the crowd. Very loud amplification and crowds.
2) Indoor venue with about 3000 people and a performer like Brian Wilson. Full band set up. Seated towards the back section. Loud amplification with more subdued crowds. Sometimes loud screams and cheers.
I wonder if you could please give me a general idea of your go to mics for which concert style? I mainly attend concerts with full bands, amplified with noisy crowds. Lot's of screamers, cheers, whistlers and loud clappers.
Topic: Higher grade mics than AT943 Audio Technica Cardioid Slimline Stereo Mics (Read 8831 times)