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Best mic and positioning for flute live?

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  • Best mic and positioning for flute live?

    Recently started adding some flute to the band. Suggestions for type of mic and where to place it for least interference with playing the instrument. I honestly wasn't expecting a problem, but last night has me unsure of my approach.

  • #2
    What about one of those little clip-on jobbers? I seem to see those most often and generally haven't had many issues. A flautist I know has an audix clip on mic. Sounds pretty good to me.

    What were you using that presented issues?

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    • #3
      The popular solution around here is a clip-on mini condenser, for good gain before feedback and freedom of movement. Otherwise you have to lock into a position very close to an external mic, if the band is a loud one.

      The Countryman Isomax has a mic clip accessory, and the mic is small enough not be very noticeable at the endcap. I like the DPA 4099 range of mini mics better for other instruments, but it's a little large for this application.

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      • #4
        I have played flute on mics in band situations.
        My favorite mic to use: Senn 421 (it seems to draw the low register C-C out of the flute)
        I have also used an SM58 (with wind screen) with good results.

        Place the stand mounted mic approximately 3" from the lip plate (basically, the flutist should blow across the lip plate into the mic)

        Mike M

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        • #5
          On the occassions I've needed to mic a flute, I used a 57 and was quite happy with the results. I placed a single 57 over the right shoulder pointed about mid way across the flute. Not the most detailed approach but the results were so good I just left it alone. I have a few events coming up with that same group and intend to do the same thing.

          A&H GL2800 console, BagEnd Crystals over D-18's, 12"and 15" BagEnd and EAW wedges powered and processed by QSC, Klark, BSS, Symetrix, Valley, Sabine, Peavey and BagEnd INFRA.

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          • #6
            It should ALWAYS be mic'd with the position of the blowing hole about 4-5" straight into the Mic.

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            • #7
              It should ALWAYS be mic'd with the position of the blowing hole about 4-5" straight into the Mic.


              If that were true, my results of doing something quite different would not have been so successful.

              A&H GL2800 console, BagEnd Crystals over D-18's, 12"and 15" BagEnd and EAW wedges powered and processed by QSC, Klark, BSS, Symetrix, Valley, Sabine, Peavey and BagEnd INFRA.

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              • #8
                Never directly at the mouthpiece but several inches below otherwise you will get way too much air noise. It's the balance between the resonating air and the resonating tube that gives the most pleasing results overall. It's a compromise.

                I have had good luck using a C-1000, CAD-95, C451, but even a E-604. One thing that may help is to drop somewhere between 3 and 6kHz down a bit depending on the sound that you need to fit into a band mix.
                -------------------------------------------------------------------------------------------------------------------------------------------------------------------
                Former product development engineer: Genz Benz, a KMC Music/FMIC/JAM Industries Company, continuing factory level product support and service for Genz Benz

                Currently product development engineer: Mesa Boogie

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                • #9
                  A sax and flute player I have worked with for decades uses a 58. We've played in some pretty loud bands and he's never had GBF problems - but he plays pretty loud. He uses a clip on for his sax, and the SM58 for his flute, with the 58 set to his vocal level - it's worked well for years but YMMV.

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                  • #10
                    The biggest problem with any clip-on is that it's very difficult to control dynamics and tone by playing to the mic. It takes away much of the benefit of (good) mic technique that appeals to many pro players.

                    Not that it won't work, but there are some tradeoffs involved.
                    -------------------------------------------------------------------------------------------------------------------------------------------------------------------
                    Former product development engineer: Genz Benz, a KMC Music/FMIC/JAM Industries Company, continuing factory level product support and service for Genz Benz

                    Currently product development engineer: Mesa Boogie

                    Comment


                    • #11
                      If that were true, my results of doing something quite different would not have been so successful.


                      Whatever works for you then.

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                      • #12
                        anything with an always never works everytime. i've had really excellent results with a variety of methods and microphones.
                        band status - "its complicated"

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                        • #13
                          Whatever works for you then.


                          Give it a try, it could work for you as well.

                          A&H GL2800 console, BagEnd Crystals over D-18's, 12"and 15" BagEnd and EAW wedges powered and processed by QSC, Klark, BSS, Symetrix, Valley, Sabine, Peavey and BagEnd INFRA.

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                          • #14
                            Give it a try, it could work for you as well.


                            Tried it. Dont like it.

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                            • #15
                              anything with an always never works everytime. i've had really excellent results with a variety of methods and microphones.


                              That's cos I am doing it right.

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