A N S W E R S

What types of power sources should I consider when buying a pair of mics?

There are three: internal power, phantom and parallel. Trouble with internal power is that you're always worrying about whether the mic battery will die during your gig. Phantom is pretty much universal in the pro world, and when done correctly will work fine. Parallel (also called AB or Tonader powering) is used almost only in the film industry. It can work as well as phantom but very little of the available equipment offers parallel power. [dj]

A simple stereo phantom that runs for ~4 hrs on 1 9 volt is the Neumann BS48i2. It is compact and the price is right (about $375 to $400). Other people manufacture supplies, but they are frequently very expensive ($1100) and bulky. [td]

Cheaper phantom supplies are available from Stewart Electronics, Rancho Cordova CA. About $100 for single channel from AC power, or $120 for DC power battery operated, [dj]

What types of cables are good for keeping noise to a minimum?

For electrostatic shielding, you need full coverage of the cable pair(s). Multiple layers of shield braid are good. For electromagnetic shielding, you want the pairs themselves to be twisted tightly. Four conductor "star quad" cable from Mogami, Canare and others helps electromagnetic shielding too. [dj]

What is "phantom power"? Why would I want/not want mics that need it?

See {15}. All electret and condenser mics require power for the impedance converter stage, if nothing else. You can use a battery inside or the mixer/preamp etc. can supply the power using phantom. [dj]

I'm interested in getting into taping live shows, but I don't have a deck or microphones. What are some things I need to consider?

Frequency response, both on and off axis. (Ideally, the response off-axis should be as linear as on-axis, just attenuated in the desired direction). Self-generated noise level. Maximum output level without overloading. Subjective judgement about sound quality. Ruggedness. Price. Availability of service. Matching of a stereo pair. [dj]

Where can I go to rent microphones? How much does it cost?

Very few places. Try the pro sound places in NY and LA that cater to film sound. Expect to pay 5-15% of the new price _per week_. [dj]

See also {27}.

How often to microphone manufacturers come out with new models -- Do I need to worry about blowing my money on an obsolete pair?

Very seldom, actually. A mic product line, like the AKG 451 or the Neumann KM83/84/85, is typically in production for 20 years or more. You don't need to worry about buying an 'obsolete' microphone. [dj]

I'm not sure about the introduction rate of new models, but some older mics are 'classic' now and are still in use. This comes to mind with some Neumann models. For example, the KMi86 was the predecessor to the U87 and TLM170 mics, and all are still in use. Old Neumann tube mics are still used as well. I don't think there is an obsolescence as with other products (computers, etc). [td]

How much better is a newer line of microphones than an older line? Can I save a ton of money and not lose a lot in sound quality by getting an older set of mics?

By itself there is no correlation between age and quality. Most of the older German and Austrian mics, even the ordinary ones, are worth far more now than they were when new.

Sometimes. I bought a KM-84 at a flea market for $10. Unless you know the type offered, stick to the well known brands: Neumann, AKG, Schoeps, Sanken, MB, Bruel & Kjaer. The problem is to find out whether the mics are in good shape. A good test is to see if two sound the same, because it's unlikely that the same fault would appear in both mics. Another check is to mix the two mics out of phase so that they null. Whatever sound is left, is the difference between them. [dj]

What is a vocal mic and why should/shouldn't I use it for recording at a Dead show?

Vocal mics, such as the ubiquitous Shure SM58, typically have a rolled off low frequency response (to compensate for the bass boost when used up close) and a 6 to 12 dB boost in the 4-7 kHz range for "presence" and punchiness. These are not attributes you want for recording at a distance. [dj]

What are the advantages/disadvantages of buying mics that have a selectable pattern?

You can tailor your mic pattern to suit the situation you are recording in. It is a more flexible system, but it is more expensive. [td]

What are the advantages/disadvantages of buying mics that have interchangeable capsules?

Again, you can tailor your mics to the situation, this time by changing the capsule. This requires the purchase of a pair of capsules for each pattern to be used. The pattern change is not accomplished with electronics as the switch selectable mics do. [td]

What kinds of mic stands are there? Where do I go to get the really tall ones that are good for use at a Grateful Dead concert?

Two kinds: too small and too heavy. The tallest stock kind is the Shure SA15 which is 15 feet tall, aluminium and about $150. These work OK if you weight them down with a bag of lead shot or sand. The really tall ones come from Matthew’s in LA and other people who make light stands for movie production. [dj]

Get a LIGHTING stand, one made by BOGEN. They are more stable than a mic stand. You can get adapters to get the proper fittings on them for mics. [td]

Where can I buy mics to use with a DAT?

For Schoeps: Posthorn Recordings, New York, NY (212)242-3737

For Core Sound: Len Moskowitz, moskowit@panix.com or Core Sound, 574 Wyndham Road, Teaneck, NJ 07666

For Sonic Studios: Sonic Studios, (503)599-2217

For Josephson: Josephson Engineering; 3729 Corkerhill Way, San Jose, CA 95121-1421; (408) 238-6062, fax (408) 238-6022; David Josephson; david@josephson.com

What are some other sources for hard to find mics?

I went on a mic foraging expedition, and have come up with the following list of music stores that seem to be willing to get mics of all descriptions. I've only had dealings with a few of them, so use the usual precautions when dealing with someone you don't know. If anyone has additions, corrections, warnings, or recommendations about a particular store, please let us know!

The first thing you need to decide is whether you want to purchase a mic in a new or used state. I'm rather partial to saving money, and used mics (with the possible exception of delicate ribbon designs) are pretty likely to sound just as good as new ones. Depending on how popular a given mic is, what type of people want it, and its condition, savings can be from 20 to 50 percent for a used item. Make sure a used item comes with all the accessories that a new one does before agreeing to a price (the windscreen on a 414B costs $30, for example, and the clip doesn't look cheap either!)

I learned the hard way that for used items you're much better off if you start trying to find a mic well before you need it. I called over 40 stores and responded to 3 classified ads in my quest for a used AKG414B/ULS, with no luck. This mic is so in demand that they are usually gone within a day of their arrival -- several salesmen admitted to scoffing them up themselves without even putting them up for sale! If you want a mic that's this popular, start looking early, and convince several stores that you're serious and would like to be notified if one shows up -- but still check on things regularly. It's also worth keeping an eye on the "forsale" and music-related newsgroups on Usenet, as well as any local want-ad sources.

Here's the list of the stores I contacted that seemed reasonable and will deal through the mail. I define places as "serious" if they have things like the Neumann U-87 in stock, will sell you a Neve console or a Sony 48-track digital, etc. With business like it is, most of these people will talk with mere mortals anyway.

What are some popular models (and prices, freq. resp, sensitivity, max. SPL, etc...) for each of the basic types of mics.

[Coming soon. -jm]

What's the best mic for under $100?

There is little correlation between mic quality and price, except that mics that are cheaper to build cost less and are generally more fragile. The large diaphragm mics like AKG C414, Neumann U87, U89, TLM170, etc. cost a lot to make. Electret condenser mics may be more modern than traditional DC-polarised condenser types, but few of them sound as good as the traditional type. There are a lot of reasons for this, starting with the type of geometry that's practical to do with a DC condenser mic (that isn't with an electret mic). The DC polarised mics are made in much lower quantities than the electret types, so they are a lot more expensive to make.

There is a big gap between the inexpensive electrets ($100-200) and 'real' condenser mics ($600-1200 each). One good possibility in this range is the Shure SM81 which has a street price under $300 (Manny's Music $276). You could also look around for used AKG 451's, Neumann KM84's etc. which sometimes show up for less than $200. [dj]

Are there any good microphones for under $200 per pair?

There's no comparison in sound quality between the professional microphones made by Bruel & Kjaer, Schoeps, AKG, Neumann, and others, and the microphones available for under $200. But not all of us can afford between $1500 and $3000 for a pair of microphones. Just because you're not able to spend that kind of money doesn't mean you can't make good quality, satisfying recordings. There are some amazingly good microphones in the under-$200 price range that offer high fidelity, ease of use (small size, no need for bulky phantom power supplies), and durability. In some cases, you won't perceive an appreciable improvement over the performance these low-priced microphones offer until you spend more than $800 per pair.

There's Radio Shack's PZM (modified using Phil Rastoczny's instructions), the Core Sound Binaural "standard" and battery box" models, Sonic Studio's low end model, and a slew of so-called vocal microphones (Shure, EV, Audio-Technica) commonly used by performers. [lm]

What kinds of mics does Radio Shack make?

Here follow 3 catalogue entries of Radio Shack (Tandy) mics which have proven to be of interest. One of the mics is no longer being made. Imho, it would be of no difficulty for Tandy to bring this high-performer back into production. In my opinion, this is one of the best values for the money were it still in production. As of 1990, these mics were still available. However, for several years, now, the 33-2011 has been out of manufacture, and no longer available. I had it from a BBC sound technician that they were as good a value as any in the microphone field. I only wish I had bought more of them. I use 2 on a regular basis. OK, here follow the listings from the 1987 catalogue with notes on current observations. Slim Electret Microphone $20.95 3oz Cat. #33/2011 wide-range 20-13000hz 600 ohms impedance comes supplied with 1/4inch plug on a 6-foot cable requires AAA cell.

Personal observations. Although this microphone is no longer manufactured, nevertheless, it is one of the best mics I have had occasion to use. In appearance, it is slim, in a metal-clad hexagonically shaped body. Because of its slimness, it can be placed in a wind-screen with good affect. The mic has especially good handling characteristics. I have mounted it, clipped to the side of a railway vehicle with no appreciable vibration conducted through the shell. At one time, the elements could be replaced assuming you could find the replacements. This is an omni-dirrectional mic which may limit its application. But, I haven't found any level that was enough to over-load the electret pre-amps.

Electret condenser omni directional microphones 1060. 20-13000hz comes supplied with 1/8inch plug as well as switching lead sub-mini. Both of these plugs terminate at the end of a 6-foot cable. Mic comes supplied with stand, wind-screen and triple/a battery. $16.95

Personal Observations. This microphone is still readily available. On the face of it, seems a better deal than the 2030. It is available, and it is cheaper. But the mic comes in a plastic housing, and in my experience, the supplied wind-screen is less than useless. Also, the mic doesn't perform well under high-noise levals. When I started using this mic, I thought it had a better low-end than the 2011. However, during some high-sound tests, I found that this microphone was wanting in the area of faithful reproduction. My view is, it would be useful if members of the DAT-heads community were to individually, and together, put pressure on Tandy to bring back the 2011.

Super Omni 30-18000 7/8 inch long. Catalogue #33/1063 800 ohms 6 foot cord comes with mini plug, and quarter-inch adapter. As well as clip, and tie-pin. The system also comes with LR44 battery.

Personal Observations. This mic is still available. I think the price has dropped somewhat, and for what it is, it is an excellent performer. Although the specs imply a giant in mouse-clothing, this mic has its limitations as one would expect with regards to its size. Like its bigger brother the 1060, it is somewhat prone to fall down in high-level situations. I.E. an aircraft departing with after-burner in operation. Nevertheless, it is a good performer in average noise environments, and highly recommended for experiments with binaural sound. I have had reliable results using these mics buried in a head-band, just above the ears. there is an excellent 2-dimentional side-to-side panorama achievable with this combination.

Other mic recommendations that I have used with good results.

ECM-979 This mic is a single-point stereo microphone. I don't have the specs handy, but something like 20-18000hz. This mic has a complicated system of 3 elements. One on either side of the capsule, and one facing outward. There is a pot on the front which controls the level of the forward-facing capsule. When this is in operation, the affect on the sound field is to fill-in the front. there is a decent on the pot, half-way through its travel. I leave the mic set to this decent. I find the mic is an excellent performer, but difficult to use in the out-doors due to wind. Even with a sock, and extensive use of reticulated foam, the wind breaks through with little difficulty. But, the sound is good. Last priced, this mic sold for #179.00 in the UK

ECM-959. This mic has much the same characters as its more expensive brother, but lacks the forward-facing element. according to the specs, it goes down to only 50hz. But I never felt that this was a problem. What I did feel to be significant was the amount of noise you got from handling the mic. Seemed the body of the mic was coupled directly to the capsule, giving it extremely sensitive handling characteristics. Now, just a word on cheap, and dirty mic placement.

One solution is the co-incident placement. Both mics are placed 90 degrees apart one above the other. Imagine they are connected together with a nail through the centre of their bodies, and they can be rotated on this nail. the mics form a triangle which is pointed with its base towards the sound-source. what I use are a set of umbrella clips available from a photographer supply house. These umbrella clips were original designed to hold lamps, but will do nicely for mics. You can get a nice coincident setup using these clips on a slim-line mic. Another way is place both mics 180 degrees apart, and in the case of omni-directionals, use a piece of perspecs, or other reflective material in the middle of the array.

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