i think proper placement with sdc’s can work... the right mic/room/placement/technique, all contribute as well as the artist’ attention to dynamics, personal style etc... the most success ive had has been, first, mic the air around the instruments like you were mic’ing up a string quartet... an a/b or your preferred stereo technique set at enough distance to allow for “bloom”... full resonance. lots of folks recommend their pet mics, to my reasoning, the lower the self noise and extended frequency response the better off. there are lots of good mics, i prefer ldc’s... “LeWitt 440 pure” specs are good guidelines... i have two and was set to buy two more and then i discovered ASMR recording... autonomous sensory meridian response or something is the name, what it is, is true immersive 3-D sound... on steroids... the separation and detail is a brain hack... miniature mics inserted into the ear, below the level of the pinnae, allow the listener to hear using my ears. what i hear as i blend the frequencies. ive tested two sets, roland em-10’s, which have built in, in ear monitors.. and my current preference, sound professionals
ms-tfb2 master class, despite the easier fit of the rolands, i prefer the sp’s smaller size,( no need for in ear monitors) plus i feel there is a slight benefit in the deeper fit of the smaller mic to the listeners experience. both require 10v phantom power and work well with my zoom Q8, which the lowest is 12v... both manufacturers said no problem. the rolands are $79, the sp’s are a little better than twice that money... i have recordings done with both... same time, same day, same tools on the gongs, im happy to share a link if youre interested, but im hard pressed to hear much of a diff... wearing preferences and maybe slight edge in handling higher spls... maybe just my imagination... ?
on a side note, ive just tried recording voice and guitar with these... i like them. no, they probably wont replace my other mics completely, but they just may come really close...