MOTUnation.com

Looking for anyone who has used either (or both) a Beyerdynamic MC930 or Shure SM81 small dia. condenser on acoustic guitar. The guys over at Gearslutz seem to like the Beyer mic a lot. They also seem to like the SM81, but usually say something like "it's a great mic....for the price". I am looking for an SDC for ACGTR in the $500 range.

Thanks
RA

I used the SM81 a lot when I was at school in the 1990s. I really loved that mic. However, when I was searching for a pair of SDCs, the SM81 was out of my range. I picked up a pair of Russian built Oktava MK-012 mics and now have a wide range of capsules for them. I'm very happy with the results.

Check this out:

gearboy wrote:Red vs. stock Oktava caps, Apogee Duet vs. BLA 828mk2...

The following files were all recorded with the same MK-012 preamp/body and 10' Monster XLR cable. I paid close attention to gain staging but of course there will be slight differences. My Taylor 310ce was miked at the 12th fret approx 6" away for each 24-bit 44.1kHz WAV file. All files are presented here with no EQ and no processing of any kind. Straight off the microphones and raw.

Apogee Duet:
Red MK-12 Capsule
Oktava MK-012 Cardioid
Oktava MK-012 Omni

MOTU 828mk2 w/ BLA mod (analog/clock):
Red MK-12 Capsule
Oktava MK-012 Cardioid
Oktava MK-012 Omni

Michael Jolly has a great reputation when it comes to making Oktava mics sound stellar. http://www.oktavamodshop.com/index.php?cPath=2_30 Mine are still stock, but will definitely be going to him this year.

Jeff

If you want clarity---spend slightly more and get the Earthworks M30. You can do anything with this microphone on acoustic instruments. Yes, it's an OMNI...but Omni's on acoustic are quite impressive!

I've never been a big fan of the SM-81. It's a nice mic...not thrilling, but nice. The 81 is certainly serviceable as an acoustic guitar mic, but I prefer something more like a KM184, AT4041 or AT4051 for acoustic guitar in that price range. Of those 3 I would describe the KM184 as just a little bright, but punchy, while I'd describe both AT mics as quite bright, but with *huge* low-end and very punchy. The AT mics really sit in a mix very well with a lot of depth and sparkle.

I've yet to go the ribbon route, so I can't comment on those.

Oh, and I totally agree with Brad...it's crazy how good omnis can sound on acoustic guitar...and you can get a pair in really close without any proximity build-up. But it really depends on the sound you're after and if you can be sure that the room you record isn't going to fight you. If you need isolation (especially from the room) you may want to avoid omnis.

I will also say that I have had great success with the old Rode NT1s on stringed instruments. Way back in the day they were going for $199 a pop and I grabbed a couple of pairs. If you can find a couple to check out, it could be worth it. I know it goes against conventional wisdom to choose a LDC for acoustic guitar, but I've never been one to play by the rules...I still use the Rodes as spot mics on orchestras along side the Schoeps & DPAs and I have music directors & conductors constantly saying how good they sound.

HTH

Wow thats an incredible recommendation on the AT's. I always had an eye for them, but never pushed the button get a pair. Didn't know they had a good bottom. I dig my SM81 pair, they are so useful for many things. Especially with the 3 HP cuts.
Now I think I'm Jonesing fro some AT's

T

sdemott wrote:I've never been a big fan of the SM-81. It's a nice mic...not thrilling, but nice. The 81 is certainly serviceable as an acoustic guitar mic, but I prefer something more like a KM184, AT4041 or AT4051 for acoustic guitar in that price range. Of those 3 I would describe the KM184 as just a little bright, but punchy, while I'd describe both AT mics as quite bright, but with *huge* low-end and very punchy. The AT mics really sit in a mix very well with a lot of depth and sparkle.

I've yet to go the ribbon route, so I can't comment on those.

Oh, and I totally agree with Brad...it's crazy how good omnis can sound on acoustic guitar...and you can get a pair in really close without any proximity build-up. But it really depends on the sound you're after and if you can be sure that the room you record isn't going to fight you. If you need isolation (especially from the room) you may want to avoid omnis.

I will also say that I have had great success with the old Rode NT1s on stringed instruments. Way back in the day they were going for $199 a pop and I grabbed a couple of pairs. If you can find a couple to check out, it could be worth it. I know it goes against conventional wisdom to choose a LDC for acoustic guitar, but I've never been one to play by the rules...I still use the Rodes as spot mics on orchestras along side the Schoeps & DPAs and I have music directors & conductors constantly saying how good they sound.

HTH

I've had a couple of SM81 mics for around 20 years and they have served me well recording mostly piano, violin, viola & cello, but also formations up to small string orchestra. Last year I got a couple of Sennheiser e914 mics thinking mostly at the time of recording small orchestra with at leat 4 mics. I was amazed at the difference between the two, the SM81 mics sound dull and uninteresting by comparison, it will be hard to want to use them from now on, knowing how good the e914 sounds.

I'm a little bit familiar with the KM 184; last year my string quartet played for some workshops run by Sennheiser in conjunction with Neumann. These were workshops to teach aspects of recording (mic position etc.) to sound engineers; we were recorded by an array of Neumann mics. I was given a copy of the mixdown recording: http://www.nigelkeay.com/violist.htm (first movement of my String Quartet No.2). I also have the multitrack version with the different couples.

for choirs, orchestras and classical ensembles I find it hard to beat the Schoeps collette series. They run about $3k a pair, but are so worth it. They are also my favorite stringed instrument mic, but not anywhere in the price range we are discussing.