I guess I'd like to raise 2 questions: 1. Have you tried the MCM in live session with rather loud background noise? Any issue encountered in regards to feedback sensibility? 2. How does compare the output level of KM and MCM? In other words, do you need to pre amplify the MCM before sending it to the mixing table? Thanks
The 114 requires phantom power, so yes, you need a preamp for that and cannot just run into a speaker. But you don’t need a preamp with additional gain. Regarding feedback, the 114 can get much closer to the source than a 184, so it would be better. But of course any mic can offer feedback at a point. If it is a loud rock gig, I’d look at a pickup, rather than a mic. But for loud orchestral, singer songwriter, or reasonable pop/rock gigs, the 114 is excellent gain before feedback.
Thank you. I thought the mcm 114’s sounded fantastic. I was so impressed I bought a matched pair. I get them in a week. I was surprised I like the sound under the bridge of the instruments… Can you share where you prefer the positioning? Thank you again.
So was I! For double bass and cello , they sound fantastic under the bridge, but when it comes to traditional miking, I usually get a condenser back from the instrument to get a more full picture of the instrument. In regards to violin, the biggest thing for me is to avoid too much rosin sound and get the mic out of the way of the player. I think it completely changes based on the instrument and playing style, but typically about 2 inches above the bridge pointing toward the f-hole will give a nice full sound. Hope that helps.
Exactly. The MCM sometimes underperforms and other times outperforms small diaphragm condenser mics. But the convenience makes it fast and keeps it out of the way of the artist.
Question, is it a good idea to record both at the same time as a stereo pair? Because i guess it could bring some phase issues since one instrument might move a little since it's attached to the instrument
This is a good point to bring up. If you are using 2 mics, the optimal solution is to have no or minimal movement. However the other option is to consider the 3:1 rule. Make sure the 2nd mic is 3x the distance as the first one was from the sound source to help minimize phase issues. (I have a video on phase issues too.) An example is that I love this mic on double bass, but can now move my large diaphragm mic further away and treat it more like it captures the entire instrument. When combined, there aren’t any phase issues and I move a lot.
@MatiasTozzola here you go! Identifying and Correcting Phase Issues and Polarity 🧰 Fix Mixes and Recordings 🔧 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-u0GCWpo1y24.html
