I would like to get a pair of mics that I can split at 60 to 80 degree angles to pick up the show. I have looked at a ton of mics and cannot figure out what is best for live audio recorded from a short distance away.

My go-to mics in this case would be a pair of Shure SM81's. They are snappy and bright, good side rejection, handle high SPL's and are 100% predictable after you have worked with them a couple of times. They do require external phantom, which the H4n gladly provides. About $600-700/pr, less used.

The Shure SM81 is an excellent choice. Their "brightness" is not a result of an artificial rise in the high end that is designed into many microphones, I would describe them as "airy" because of their exceptional transient response. The frequency response of the SM81 is designed to be quite flat and have very little coloration.

I generally dip the SM81 tracks in post at around 2.5 and 4 KHz to better conform to the other mics we have running (a preponderance of Countryman and Sennheisers).

Like you, I don't agree with the opinion that 81's are "too" bright -- like A-T condensors, their only fault may be that they are "too" faithful.

EDIT: There is a used pair on eBay right now for $400 (170505360918). If I was shopping, I would probably jump on them (this is not an endorsement, I have no knowledge of the seller).

I use the Rode NT4 in a good Sabre shock mount. Same capsules as the NT5 without the futzing around.
I've also used the Sanken CMS-10 however at around $3K it's out of most people's budgets including mine but it truly is a magic mic for stage. The NT4 might be a better choice regardless of the cost difference for stage music.

One plus the NT4 has over a pair of NT5s is it doesn't need phantom power and that can save the battery in the H4n.

Bob.

If you drop a Sanken, you had just as well send the crew home for the night.
There's a reason every SM in use has a dented windscreen. Call it "character."

Great info everyone! I'll check out the mics you've all recommended ... especially the pair of SM81's on eBay (just found the listing). Thanks for all of the great info!

--Kevin

Good luck, I promise I won't bid against you.
;?)

Or RODE NT4, which is same as 2 x NT5 in a fixed X-Y stereo pickup pattern on one body and an internal 9V battery-powering option..

geoff

SM81 bright ? I'd call it 'spitty'. But not as bad as AKG C1000 which is like being stung in the ear by a wasp !

geoff

'spitty'

omg geoff, do you have tinnitus?

An SM81 spitty?!?! Not in my universe! I've never heard anyone describe it that way, ever.

Just for "anyone's" reference, here is 75 sec. of audio recorded using seven SM81's and two SM57's (not where you'd expect them), and an H4 in the back of the house.

I "think" I meet fair-use requirements for "educational" purposes on this one, in case anyone has their eyebrows raised over the content. Link is good for two weeks, period.

Although my trombones may be "spitty," my recordings certainly are not, by anyone's measure.

http://shell.dim.com/~musicvid/SPOV.ac3

I've just gone back and reread your original post, a few points.

If you're recording a feed from a desk and your own mics, look out for phase problems. It can pay to hit the Invert switch on one of your tracks and compare how it sounds. Once you've got that sorted hit the mono mixdown icon on the buss master and check how it sounds in mono. If you've got SF then use the phase correlation meter to check for nasties that'll make anyone listening to it in mono not get such a good sound.

No matter which mics you end up with correct positioning can have more impact than choice of mic. Firstly if you're using two mics to record stereo then do some research as there's a huge body of work on the web about this. Much of it debates whichwill still be going on long after we're all gone. I'd pay more heed to what is known to not work and pick a mic arrangement that suits you, you'll probably need some form of a stereo bar or a bit more hardware if you go for ORTF. That's one reason I chose the NT4, I just don't have to think about it plus it was sitting there on eBay at an absolute bargain price.
Once you've worked out which arrangement you're going to use for your stereo pair the next thing is where to put them. In a live venues I find that quite a problem if there's existing PA and foldback speakers. In that scenario I use my stereo mic to just get some mid to high field to add into the mono feed from the desk or else get the mic behind the PA speakers and up close to the performers.

The other mics that can be very hand for stage shows and can be had quite cheaply are PZM mics. They're also known as boundary or plate mics. They're also great for round table discussion groups etc. You don't need to spend a fortune on the original Crown PZMs. I've got a real cheapy from Samson and two no name Chinese ones that work quite well.

Bob.

Hello Musicvid,

Tried to listen to your clip but Quicktime reported that I need additional components to listen. Do you have any idea what component is needed?

TomG