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Author Topic: On-board mics: which are best for live recording?  (Read 15192 times)

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Offline rocksuitcase

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Re: On-board mics: which are best for live recording?
« Reply #30 on: July 30, 2015, 03:22:17 PM »
You can easily run B3s binaural, or near binaural mounted on your glasses, hat etc. Mine are terminated to a single mini plug, with a 2.2k mod to help with higher SPLs. Any of the resident cable jockeys can do this for you. For the money, you can't do much better IMHO.
Another plug for the Countrymans quality/value. A west coast taping buddy used to use a pair for  >:D
Also, I have a friend who used to work for Carl Countryman and they are certainly designed for what we do.
music IS love

When you get confused, listen to the music play!

Mics:         AKG460|CK61|CK1|CK3|CK8|Beyer M 201E|DPA 4060 SK
Recorders:Marantz PMD661 OADE Concert mod; Tascam DR680 MKI x2; Sony PCM-M10

Offline bombdiggity

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Re: On-board mics: which are best for live recording?
« Reply #31 on: July 30, 2015, 05:05:27 PM »
It may not be helpful but to the extent you're considering externals it is a mystery to me why these are no longer made:

http://www.roguestream.net/RS33-1065Mic.htm

They were like $30.  Best cheap mic ever.  They can handle any amount of volume and sound good on quiet stuff too.  Tiny, portable, AA battery self powered, somewhat directional but also adjustable.  Just plug it in and set it down pointed toward the action and you'd be golden. 

I imagine they're hens teeth but may show up on ebay or somewhere from time to time.  The problem may be getting one that still works. 
Gear:
Audio:
Schoeps MK4V
Nak CM-100/CM-300 w/ CP-1's or CP-4's
SP-CMC-25
>
Oade C mod R-44  OR
Tinybox > Sony PCM-M10 (formerly Roland R-05) 
Video: Varied, with various outboard mics depending on the situation

Offline voltronic

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Re: On-board mics: which are best for live recording?
« Reply #32 on: July 30, 2015, 08:44:28 PM »
I have to agree with others here - you're much better off with external mics, even cheap ones, versus even the best internals.  One reason is that internals are often X/Y, which is very rarely the best choice for capturing any kind of natural stereo image.  Alternately, you get internal omnis that are much too close together.  Either way, you get a mostly mono recording unless you're in the exact position for that arrangement to work (which is doubtful).  Any kind of externals allow you so much more flexibility with placement so you actually have the opportunity to get the best sound, instead of being locked in to the highly compromised setup you get with internals.

If you need small, something like the Sony M10, a battery box, and and the AT853 wired for plug in power are a great combo.  Darktrain frequently has them for sale in a variety of configurations.  For your drum circle, a pair of omnis would be good as suggest mentioned, either spaced 40-60cm in a stand or HRTF.  Check out the Naiant X-X, great bang for the buck, and Jon can set then up any way you need.

If you can afford to go with something a little bit larger, you'd be hard pressed to do better than the Tascam DR-70D, usually around $250.  The big advantage is 4 XLR inputs, allowing you the flexibility of 4 channel recording down the road.  Gutbucket can share all kinds of ideas for interesting multi-mic surround techniques he uses, and while you may not want or need that right now, it's nice to have the option later.
I am hitting my head against the walls, but the walls are giving way.
- Gustav Mahler

Acoustic Recording Techniques
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