Topic: Best mics for bluegrass recording

[thejamgrasspimp]

Howdy folks.  I'm FINALLY getting ready to make the big leap to digital recording and am looking to invest somewhere between 700 - 1500 (possibly more) in a pair of mics.  I've been reading lots of stuff on this site and others to help with this decision.  I'll be recording mostly bluegrass and some jamband/jamgrass.  I'll be recording lots of Larry Keel and other regional bluegrass in small, noisy bars with bad acoustics and also lots of traditional bluegrass festivals.  Because of this difference, I figure I need a pair of mics with both card (festivals) and hyper card (bars) options. I've listened to alot of the archive but plan on doing more.  The best that I've heard so far if the Beyerdynamic mc740's.  This mic just sounds amazing and I love the way it captures the sound.  That is probably way out of my price range but that's my dream mic to this point.  I'm tossing around several ideas, Beyerdyamic, Neumann, AKG, Peluso & MBHO.  I've listened to lots more but based on what I'ver heard, these have impressed me most.   I'll be recording a lot of places where I am the only taper so I really want to get dynamite recordings.  I'm really hoping that you folks can help with some good suggestions here.  I guess I definitely want something that has the option for different capsules or at least some kind of a switch that allows card/hypercard.  Any insight would be greatly appreciated.  Thanks ya'll.

[TNJazz]

If you're patient you should be able to score a pair of MC740 for $1500 or so.  You'll probably have to buy them separately (Ebay), but you can always send them to beyer for matching and checkup.  Their prices are dirt cheap too (compared to others).

As a happy owner of a pair of MC740, I will heartily recommend these mics over pretty much every other LDC out there.

Stunning every time on just about any source.

[grider]

I'd suggest you go to archive.org and do a search for bluegrass acts such as Yonder, Hot Buttered Rum, and so forth, stream some shows and see how the various mics sound when taping that genre of live music, since you will often be the only taper at your shows you might also want the flexibility of interchangeable caps (cards in good sounding rooms, hypers in boomy or chatty rooms, omni's for outside and on stage placement), suggestions in your price range with interchangeable caps would include akg 480's, MBHO 603a, Neumann 140/50, Microtech Geffell 200

[Evil Taper]

Royer ribbons...but that's not being realistic

[tcf]

While always a good idea to interview other mic choices prior to buying,  The 740's are a huge bang for the buck with Multiple pattern options.  If I was in the market, the 740's would be at the top of my wish list for acoustic music.

The only reason I'd consider something else would be if you are doing a lot of on stage stuff where sitelines may be an issue.

[grider]

as the above poster pointed out, large diaphram mics may not be a realistic choice for some taping situations; case in point, I tape at Beanblossom Bluegrass Festival on occasion, and its nearly entirely old folks, gray hairs, older fans who have no idea about taping but get there early and stake out their real estate and guard it, I doubt they would have much patience for a pair of large diaphram mics interfering with their view of the stage, not a chance

[dean]

I've had good results using the MBHO 603a's.  Can't do a good comparison to the others you listed, but wanted to let you know the HO's won't let you down, and when you need to run low profile they're ideal in the active mode...

[OOK]

I swear MBHo's were made for bluegrass.  However I am partial...........

[jnorman34]

i've owned pairs of DPA 4011s, schoeps cmc64s, royer r121s, akg c481 and 461s, several neumanns, etc, and probably my favorite for bluegrass/folk acoustic material are the AT4051s.  a nice big open and clean sound for this application.  at also offers hyper caps for these bodies.

[kskreider]

Proximity to the source is key here.  Are you talking about recording stuff from on stage or at the lip?  Or are you talking about recording something from the back of a Yonder or Keel venue?  Big difference between those two no matter the venue.

I tape A LOT of old-time and bluegrass music, almost exclusively in fact.  I enjoy my 140's for an up close SD option on acoustic string instruments.  I know there are some better and some worse, just piping up to what I use and my ears like.  You might be able to find a used pair for $1500.

[Teen Wolf Blitzer]

^  what he said.     or 414's

[thejamgrasspimp]

Thanks for all your tips so far.  I have no plans to run any on stage or stage lip set ups.  I'll be preferably FOB at the festies and bar shows.  Any other suggestions or advice is welcome and needed.  Thanks again!!

[Gordon]

brad right?  remember me?  gordon from asheville.   we traded some and have met a few times over the years.   anyway I LOVE the neumann 140's for bluegrass.  they really shine with acoustic music imo.   that said my 480's have also made some great bluegrass tapes imo.  the 483's at the orange peel are always nice!  don't think you won't want to run stage lip or on stage at bars etc.  bluegrass recordings come out sick when you set up like "their mic".

also what pre amp/ad and recorder will you be getting??  is $1500 budget for everything or just mics??  last I knew you only had a MD.  not talking shit just wondering if that is all taken care of.  if you do end up leaning toward AKG's I can hook you up and do it in person to save on shipping etc.  assuming you are still in asheville.  feel free to drop me a line.

[kskreider]

bluegrass recordings come out sick when you set up like "their mic".

qft.

[thejamgrasspimp]

For years I recorded with an MD and either used shitty mics or plugged directly into the soundboard.  Over the last 2 to 3 years especially, board patches have become increasingly rare.  Alot of bands I used to see where it wasn't a problem, e.g. Keller, Peter Rowan, LoS, just to name a few, no longer alow board patches or there's a huge hastle to get in.  This combined with crappy soundboard levels and outputs and the feeling of being a leach have driven me towards becoming self sufficient at taping.  I go to alot of festivals where I see incredible music and there's just nobody taping and it just kills me.  So these things have made me feel it's finally time to step up and get with the rest of you.  I recently purchased a zoom for stealth reasons but I've got my sights aimed at fantastic quality now and that just doesn't cut it. 

As far as my budget, the 700 - 1500 is just for mics.  I plan on getting prolly a JB3 or something similar for storage but right now I'm just focused on what the best mic would be for my situation.  I plan on working on the mic on down as far as investment.  I know that's assbackwards but I want to get the more expensive piece out of the way.  Don't worry, I don't plan on running some super dope mic into an md.  My md's have served me well over the years though but it's time for change.

The whole on stage mic set up concerns me for a few reasons.  I would think that most bands that would allow me to set up that close would just as well allow me to plug into the board.  Also, it seems you'd have to be really on top of guarding your shit and constantly worried about some drunk fool spilling beer on it.  Maybe I have a misunderstanding of this setup though.  I'd appreciate any input on these concerns.  I checked the rig pictures area and couldn't locate examples of on stage setups so if someone could enlighten me with a photo of on stage examples I'd be all types of grateful.  Ya'll are great, helpful folks and all suggestions are welcome.  I'm taking notes.