In article <
c28d9868-2aa3-4424-bb18-8386bf889b72n@googlegroups.com>, =?UTF-8?Q?Fran=C3=A7ois_Richard?= <
franc123.rich@gmail.com> wrote:
Le vendredi 3 mars 2006 =C3=A0 13 h 58 min 16 s UTC-5, Scott Dorsey a =C3= >=A9crit=C2=A0:
BarbaraD <bor...@hearthstead.net> wrote:
Although I don't have many mikes, I have a U-87 and hadn't realized it
is also recommended for flute. I'll set it up and see how her flute
sounds -- it would be wonderful not to need another recording mike. As
for "live" sound, I'll see if I can try some of the suggested
microphones. The mike placement also was helpful. I'll let you know
what works for us, and also how the U-87 does.
I'm not a fan of the U-87 on flute, but by all means try it. It'll give
you some reference for what you like. Either you'll like it, or you will
have something specific that you want different.
And, of course, the best mike in any live application is the one that is
set up. The mike that is backstage in a box is a distant second. With
studio work there isn't so much of a need to capture the moment, of cours= >e,
but to some extent it's still true.
--scott
=20
--=20
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sennheiser MKH 50 . Live and studio . With high end mic preamps like Grace = >Design , Neve , Millenia ....
Fine for distant miking but up close, too many flutes get harsh and shrieky.
I do like a dynamic mike or a ribbon that mellows the top end out a bit
for folk flute or anything that is going to go into a mix.
But I agree, I'd sure take the MKH-50 over a U-87 any day...
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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