We use the D5 and D7 a lot at the theatre. Their sensitivity makes them easier to use with a little distance between the mouth and the windshield. Their frequency response too is more like a condenser than a dynamic which should make them less likely to produce the low/low-mid issues that others here have experienced, and makes them useful for instruments too.
As the OP experienced, when NOT virtually eating the mike the clarity and openness became more apparent. The D7 is particularly nice in large stage noisy situations, the noise-cancelling coil that sits on top of the diaphragm really contributes to a clear result.
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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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