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Old 03-12-2011, 05:58 AM
pieterh pieterh is offline
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Join Date: Oct 2010
Location: Near Stockholm, Sweden
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Questions re mikes - or at least the answers - should always take into consideration budget! We use a pair of Samson C2s sometimes as drum overhead mikes but as we have a decent selection of different mikes for stage use they tend to get forgotten now!

I agree with Doug Young re the DPA 4099. We're big fans of their mikes generally though when we get one it's not our money paying but the theatre budget! We have a matched pair for the Grand Piano but I bought additional clips for acoustic guitar, violin and Sax.

What can I say - my new benchmark for a great mike is it sounding great with a flat eq (apart from maybe highpass/low cut). I actually find the 4099 fairly feedback resistant too, though no microphone is going to be 100% feedback free - this is where stage discipline and experience comes into play. It could be that the placement of the amp needs looking at - if the amp is used to amplify the guitar out to the audience then maybe it could sit to one side of you facingoutwards.

If the guitar is getting feedback from the PA then either the player's position or front of house speaker placement needs to be reconsidered - or even just needs to be turned down! A decent eq on the FOH sound could help too though at the risk of the overall sound balance for the audience...

If the feedback is monitors then the 4099 is a great solution because it follows the guitar - if you get feedback via the monitors then back off from the speakers or get the level turned down. If you have a competent engineer (and the gear allows it) try to isolate the offending frequencies and then notch them out.

My other favourite mikes for acoustic guitar are the AKG C535 and the AKG C414, the latter being large diaphragm. They're not that cheap either though really worth the cost - the C535 has a slide switch allowing for no cut, low cut, general signal pad, and pad with low cut. The 414s have a similar cut switch plus selectable polar pattern and work great for eg Bluegrass gigs and so on, but less practical for loud rock gigs (though they too make great overhead mikes).
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Gibson ES-335 Studio 2016; Furch OM34sr 2015; Fender MiJ Geddy Lee Jazz bass, 2009; Taylor 414CE 2005; Guild D35 NT 1976; Fender MIM Classic 60s Tele 2008; Fender US Standard Strat 1992; G&L ASAT classic hollowbody 2005; Ibanez RG350MDX 2010(?); Ibanez Musician fretless, 1980s; Seymour Duncan Tube 84-40; Vox AC4TV;

Ex-pat Brit in Sweden
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