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Luckenbacher

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  1. "Secondly, you really can't capture the true nature of a brass percussion instrument unless you're at least as far from it as it's lowest produced wavelength (can you say 100s of feet?)" Is that actually true? It doesn't sync up with my experience, and I'd be curious to learn the physics behind this. Anyhow, to the OP. Just my opinion, but your focus on spec like frequency response and bandwidth is a bit misguided. Really, whatever works, works... if your zoom works, then more power to you. A lot of inexpensive highly directional mics have really, really funky off axis responses. I have a senn mk416 and it sounds awful off axis, even if it's flat in front and really attenuates those funky off axis sounds. I have a schoeps CMC641 and it sounds really great in all directions but is still very directional, but it was really expensive (by my standards). Neither of those mics is what I would likely use in any live situation. The 414 is a fine mic for this. In fact, about any condensor a couple of feet away would probably be fine for most engineers to get what they need to make the sound loud. I'd probably start with an SM81 and then change it if I didn't like something about how it was working I don't know what the rest of the context is. If there is no ensemble having a couple of mics that are close to the instruments is probably fine. In a rock band a 421 behind the gong might be better for isolation, but who knows without being in the actual ensemble. And in other situations, who knows. You gotta experiment, but it's almost always the engineer and the sound systems that are the real limits to how these things sound.
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