just my $.02:
Royer SF-12 - Too fragile, you'll not only need to remember your batteries for your gear but also Xanax just to make it through a show with drunks running in to your fragile $2k+ mic.
SP LSD-2 - Very close to the ADK in sound, probably uses the same chinese made capsule as the ADK 51s and the MXL mics so if you like the ADK sound and want a stereo mic this would be a good choice.
USM69 or SM69 - Great mic, great freq. response geared toward far field recording, downside is like most LD condensers rear rejection is not as smooth or complete as SD mics.
AKG C426 - Same as above except mostly flat freq response, AKG vs. Neumann sound
Soundfield - Good if close, not so good if stuck in the TS.
Rode stereo mic - terrible for taping, has HF roll off comeing on above 3 khz, sounds really dull unless you are micing the horns on a stack, prolly great as a drum overhead but thats not what we do.
Sony mics - hit or miss, I've heard some great recordings from these but also some really shitty ones, I'd reccommend a ECM-999PR if you can find one it's the best sony one point for taping.
AKG C33/C34 - of course I'm biased
but I think this is gonna be a great mic, SD condenser stereo mic, mine is away in cali being modded with a custom frequency response desigined with only PA taping in mind. the diaphgrams are being lightened to bring true clarity to the diffuse signal reaching the mics they are literally going to be thinner than the royers ribbons (stock AKG 3 microns, Royer 1.8 microns, new diaphgrams 1 micron; so the transient response will be great).
The Shure is a ENG mic and the frequency response is not what you want for taping.
like I said it's jut my $.02 YMMV
peace, chris
Topic: stereo microphones.... (Read 11723 times)