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Best mic and positioning for flute live?


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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.

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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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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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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.

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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.

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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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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.

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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.

 

 

Agreed.

 

The players I work with that have clip ons are aware that using a clip on is an art form in itself. They're willing to create the dynamics "internally" on their own, as a trade off for a consistent close miced sound, and the ability to roam around.

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That's cos I am doing it right.

 

 

Well for your given situation ............Yes. If anything changes (with a number of factors) your choice of mic, placement, room, etc....... you might need to change your approach. You can't get stuck in a one-way-fits-all mentality. Your technique could be the best or worst just by the change of a few things.

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Well for your given situation ............Yes. If anything changes (with a number of factors) your choice of mic, placement, room, etc....... you might need to change your approach. You can't get stuck in a one-way-fits-all mentality. Your technique could be the best or worst just by the change of a few things.

 

 

I have experimented with Mic placings many times...until I found the sweet spot and stuck with that ever since. This is MY application...and it works fine for me. It may not work for you...or it may. It's all about experimenting until you get it right the way YOU like it. If you like it...go for it.

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SB-----------I don't know if I'm not being clear in my communication or if you simply don't want to listen. Your comment about the "sweet spot" is correct but only a PARTIAL element of mic selection and placement for any given application. (even the term "Sweet Spot" can mean different things to different people) To infer that you have found ONE sweet spot that works in ALL situations shows a lack of experience doing sound. You've posted many threads which show a lack of basic knowledge of SR. That is not a problem as this forum is about learning. The problem comes out when you start throwing out opinions you cannot back up. Much like what you're doing right now on the 12" sub thread.

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Tomm...the sweet spot I found works for me. It worked for many Flautists here too. After trying many ways....I finally saw another Flautist got excellent result...and I used her method...and it works fine.

 

Yes...a 'Sweet spot' is subject to arguments...but with so many Flautists sounding so good with this way locally, no one is complaining.

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Tomm...the sweet spot I found works for me. It worked for many Flautists here too. After trying many ways....I finally saw another Flautist got excellent result...and I used her method...and it works fine.


Yes...a 'Sweet spot' is subject to arguments...but with so many Flautists sounding so good with this way locally, no one is complaining.

 

 

It's one that often does not work with me.

 

I use whatever the particular player needs to achieve the necessary results. Often, they will work the mic by changing the position to vary the results as needed for dynamics purposes.

 

You need to realize that I typically work with touring class pro musicians, and every music and playing style has different preferences. Very few would agree that your choice is right for them, but I'm sure it's good for a few of them.

 

Why do you throw out so many absolute statements? Is it maybe a language-translation thing where opinions translate into unwavering fact?

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Andy...English is not my native language..unlike majority of you. I think and dissect in my native language...and then translate them into whatever basic English that I know...and then finally post them here. I think you could be right....there could be some language issues here that gave a different 'interpretation' that made many of you misunderstand me...which is not your fault.

 

If you can read my native language in its original form....it could mean otherwise. Sorry....again..English is not my 1st language. I am trying.

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Andy...English is not my native language..unlike majority of you. I think and dissect in my native language...and then translate them into whatever basic English that I know...and then finally post them here. I think you could be right....there could be some language issues here that gave a different 'interpretation' that made many of you misunderstand me...which is not your fault.


If you can read my native language in its original form....it could mean otherwise. Sorry....again..English is not my 1st language. I am trying.

 

 

I suspect that this may in fact be a big part of the lack of following. The other may be cultural, the market that you operate in is not as sensitive to, or as tuned into quality and the costs of dealing with failues. Here, amongst some of us, failures cost us more money than the piece of gear that fails. Due to liability, it can cost us many, many times as some of us have exposure to lost ticket sales and revenue. I typically do shows where the gross potential (GP) of the admissions alone is >$50,000 (USD) and I know that a few others here fall into the same catagory. For us, failures open up a big can of worms that could be big trouble.

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I suspect that this may in fact be a big part of the lack of following. The other may be cultural, the market that you operate in is not as sensitive to, or as tuned into quality and the costs of dealing with failues. Here, amongst some of us, failures cost us more money than the piece of gear that fails. Due to liability, it can cost us many, many times as some of us have exposure to lost ticket sales and revenue. I typically do shows where the gross potential (GP) of the admissions alone is >$50,000 (USD) and I know that a few others here fall into the same catagory. For us, failures open up a big can of worms that could be big trouble.

 

 

THx for your undertsnading. yes...I am at the bottom of the food chain when it comes to gears I can afford thx to the insane 350% tax by the silly Government on electrical products. Just imagine...I have to pay THREE Times more than what you folks pay in USA. That sucks for me. That means that I can only afford entry level gears. NOt becuase I dont want to buy higher quality greas...but I simply cant afford them.

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Thanks for all the suggestions. I've got SM57 and C-1000 to try without spending anymore bills. I'm also pretty new to the instrument, so volume control will be better with a mic on a stand. Flute may never be a major instrument for me, but just an additional one. I'll start there with your suggestions.

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