>NT1000 is a pretty good bet, wide open clear frequency response and very low self >noise. The NTK is even better, but a bit more costly, and has a separate power >supply to drive it, which can be annoying in live situations.

>AKG 414 is also commonly used for this, but is more expensive, and I don't think >any additional benefit would be had.

The NTK is a very nice mike. I agree with Webpuppy.

George Ware

Never used the Rode, but the AKG 414 would be my first choice, especially for piano. Just watch out for the upper mids.

Other good choices would be Shure SM81 & AKG 460.

JL
OTR

Yeah, I already have one NT 1000 so I think I'll go for the second.
I'm happy with it, but I do slightly regret not having gone the
extra mile and purchased the NTK.

Heard great things about the AKG and it's on the wish list.
We just got our first client, so if things go well,
maybe I'll be able to pick up one of those in the not
too distant future.

Thanks for the advice.

Dave

If you want extremely neutral sound and extended frequency response you might check out Earthworks. I use the omnis for recording pipe organ. The low bass is outstanding. I'm told by a sound guy from Berklee that they use Earthworks cardiods on percussion in the studio. Very interesting mics.
Doug

The earthworks, like most of the B&K's, are really REALLY cool when you are 100 % happy with the source, in the room, as it is. They are nuetral enough to be testing mics.

Dont discount the 414 too quick, as its variety of polar patterns can give you a LOT to work with, even M/S is possible with a pair.

I have 2 NT1000s, but for what you are after , I would suggest a pair of selected/matched Oktava MC-012a's from The Sound Room ( www.oktava.com ). Being small capsule condensers, they are more suited to natural recording of distant (and close !) sources. Don't get cheap Oktavas from retail outlets - the QC is abysmal .

geoff

I've recorded for years useing some of the best mics out there. I recently tried and then purchased a pair of Studio Projects C1's. They absolutly blew me away for the price, $229 ea. with a nice case and shock mount. The mic is built like a tank and wonderful open sound. I've used them on piano, Ac. and El. guitar and voice with excellent results. It's nice to have a mic I can take in the field and not be devastated if it got knocked over or pocketed. Two other engineers I know have since pick up a couple and are equally impressed. Don't let the price fool you. mcm

I just finished recording a session with some mid-level CAD mics, they did a wonderful job.

When I bought my Rode NT 1000, I compared it to many in that price range, including
the Studio Projects C1. The C1 seemed to have a slightly darker tone. I went with
the Rode for its clarity but would still like to have something like the C1 because
on some voices, especially my wife's, the Rode can be a touch metallic.

Regarding what I'd like to accomplish:

I record mainly voiceover stuff for English educational materials, but this
country (Korea) has such a fervor for education that after school, children go to
all sorts of extra academies for the likes of science, math, art, English, and
music. There are so many of these music schools that the oportunity is great
for recording recitals, audition tapes for university, and so on. It wouldn't
have to be a world class recording project, but I do also record bands and such
so I want to get a mic that will work well for me in the studio too. To that end
what do all of you think of the following.

1. Am I worrying too much about having a stereo pair of mics? I could place
a single mic in the middle of the piano, inside close to the keys or maybe over
the players head if the room sounds good enough.

2. I could get a second large diaphragm mic but not another Rode. The
AKG 414 seems to come up a lot. Then I'd have more choice trying to match voices
and microphones in the studio. But would using two different mics, however placed,
give me any adverse effects for recording piano or a small student orchestra?

3. What about small diaphragm condensors? AKG C-1000, the Oktavia mics, others.

4. Which mic placement do you prefer when recording piano? Stereo pair, X-Y, . . .


Thanks for all the responses so far.

Dave
Sound English

I have access to a couple decent pianos but the rooms are not great so I close string mic for pop/rock/jazz and voice/piano tunes. I've used two AKG414 and also two C1. Full stick on the lid, one mic about 2/3 the way up the keyboard about 6" behind the hammers, 8" above, pointing slightly towards the hammers (for a brighter sound, down for darker). The second mic is back where the mid and low strins cross, 6" above pointing slightly forward. I will sometimes then drap a large quilted moving blanket over the open lid tenting the mics inside. This gives me a good sound with lots of control over the spread and balance at mixdown. I've also used the Antares Microphone Modeler plug-in when using the 414s to smooth or color their responce to taste without touching any EQ on the mixer. I find a lot of uses for that plug-in and if you are like me with a small personal mic collection it's a nice tool to have on hand. mcm

>>but this country (Korea) has such a fervor for education that after school, children go to all sorts of extra academies for the likes of science, math, art, English, and music.<<

....And people wonder why we are having so much trouble over here in America!!!


>>But would using two different mics, however placed, give me any adverse effects for recording piano or a small student orchestra?<<

You're better off using a pair of the same mic. Although, not having used the Rode, I still would bet my session on a 414.


>>would still like to have something like the C1 because on some voices, especially my wife's, the Rode can be a touch metallic.<<

Try this first:
Set up 2 mics in front of your wife (or other vocalists on which the Rode has this effect). Place a dummy mic directly in front of the vocalist (on axis) just as you would normally set up a vocal mic. Place the Rode off to one side about 30 degrees (starting point) off axis to the line created between the vocalist & the dummy mic. Point the Rode directly at the vocalists' mouth. Tell your vocalist to sing directly into the dummy mic. When you monitor the vocalist on the Rode, it should have some of the edge removed from it as compared with before. You may have to experiment with the placement of the Rode to get the right sound.

If that doesn't work, try this:
Use the Rode as a normal vocal mic (on axis). Set up another (good) mic BEHIND the vocalist. Yes, mic their back - actually, the backside of their chest cavity. If you listen to them sing with your ears right behind them, you will find the spot at which you need to place the mic - it will be somewhere below their neck & above the waist. Route this mic to a different input channel & mix the 2 inputs together as you go "to tape". Adding just a little bit of the "rear" mic should counteract some of the edge that annoys you & darken up the sound a bit.

Jeff Lowes
On-Track Recording

Well, it seems like the AKG 414's just keep coming back!!
I'll have to check some out.

Jeff, thanks for the mic placement suggestions.
I hadn't thought about moving it off axis, and certainly
not about micing someone's back! Interesting stuff.
One has to be smarter than the microphone.
We're set to record some new material soon. I'll have to try
it out.

Dave