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Old 09-13-2017, 09:59 PM
brentcn brentcn is offline
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Join Date: Dec 2005
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Originally Posted by larryace View Post
I'm in the same boat as you. I have very little experience with this stuff. My initial thought is only condensers for the studio, nothing dynamic. That's just my initial thought. Condensers are more sensitive, so in my mind, it should make a more crystalline sound. But I know nothing. The only thing I do know is I really really like my AKG C 414's and how they make my kit sound. The C214's are the same mic with only one polar pattern, cardioid, instead of 9 on the 414. It's less than half the price of the 414.
If you'll be doing some recording, and if you already have a C414 -- get another one! The multiple modes and pickup patterns make it a great choice for live, since a tighter pickup pattern will reject other sources. For example, using a pair of 414s in hypercardioid will reject the sound from amps better than cardioid. They're also very good as tom mics, but you wouldn't want to risk them getting hit by a stick. You can try one mic in figure 8 mode, placed between the snare and kick. For recording, they'll work on anything -- acoustic guitar, piano, vocals, choir, upright bass, etc. And a pair is great because you can get some good stereo setups happening, like Blumlein (both mics in figure 8 mode), which a recording studio might not have the equipment, or even the expertise, to do. A pair of multi-pattern condensers is a great investment.

Originally Posted by larryace View Post
Question for the experienced sound techs: Why would I use a dynamic microphone in the studio when I have enough great condenser mics? I play medium/normal volume, not hard, not soft.
Because sound. Sometimes a dynamic will capture the transients more reliably than a condenser, especially when close to the source. The moving coil design inside a dynamic will recover more quickly than the thin diaphragm of a condenser.

Also, because of expense. Most studios don't want a thousand-dollar mic in close proximity to a drum stick. They don't care about your gentle, careful technique -- it's just not worth the risk.

If your focus is live sound -- then one overhead will usually do it. You usually see small diaphragm condensers because they're cheaper and easier to position, but your 414 is much better. You could add a small diaphragm condenser for your hi-hat if you wanted, for bigger rooms and stages.
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