Ideal EQ Curve for Wedge Monitors

[gdougherty]

When I saw your mention of your purchase plans ( in a earlier thread ), I bit my tongue and thought good luck, because it seems like there is always something that happens; Either Murphy visits and forces an expenditure, or a "once in a lifetime deal" pops up.
For a friend it was ( recently ) the latter, he had an opportunity to buy a bunch of used Shure mics for $10 - $15 ea. He couldn't pass that up of course. ( BTW - I have seen them on Ebay for that price.)
At that price he doesn't worry about loaning/renting them out, as opposed to his personal mics.
Perhaps you could borrow a dynamic cardioid to hear if it improves things first.

+1 I can't imagine it'd be hard to find somebody with an SM58 or the like. Check out how much you can sell the OM6's for. They have their fans and if you dislike them that much there's probably not much reason to keep it versus a couple of less expensive mics.

[bgavin]

My bassist simply hates the OM6.
I find them more intelligible, especially with our crap PA.

I will be playing the OM6 for four long days starting this Thursday, so I'll get to hear them a lot.

[Tom Smit]

Hey Bruce, I imagine that once you get your O12's going, it will be "so long OM6's"!

TomS

[Nordskov]

Since this thread has gone south already , I have a microphone question too.
I'm about to purchase a new microphone and want something a bit more sparkling than an SM58 or Beta 58A.
I like the clarity of Sennheiser but my experience is that they are more prone to feedback than Sure. If it's 180 degree pickup from monitor or 0 degree reflections from backscene boundaries I don't know.
A sound tecnician I spoke to recomended the AKG D7 over Sennheiser. Does any of you have experience with this mic?
http://www.akg.com/site/products/powers ... ge,EN.html
It seems to have a fairly great lobe at 180 degrees which may cause feedback from a monitor placed right in front of the vocalist.
What's your opinion?

[Sydney]

Looking at the pdf:
http://www.akg.com/mediendatenbank2/psf ... dd0055.pdf
The polar plot shows the pattern as having a null centered @ 4KHz @ 125 degrees.
Off center from that the rejection is less.

[Nordskov]

Looking at the pdf:
http://www.akg.com/mediendatenbank2/psf ... dd0055.pdf
The polar plot shows the pattern as having a null centered @ 4KHz @ 125 degrees.
Off center from that the rejection is less.

That's right, Sidney, actually the whole 2-8kHz range is down from 125-150 degrees. Making an assumption, the angle between mic on-axis and monitor is around 120-150 degrees, give or take. That places the monitor right in the dead spot.

Do you have first hand experience with this mic?

[Sydney]

Do you have first hand experience with this mic?

No
I was curious as what AKG supercardioid pattern looked like and performed with monitors vs the 180 cardioid pattern.
On a mic related note: The latest AudioXpress has a article "Design and Measurement of a Dipole Microphone". The author made a mike with adjustable directivity using 2 Panasonic WM mike capsules.

[Nordskov]

Sidney, you are a goldmine of information and references. Some of which goes over my head

[Sydney]

Some of which goes over my head

Such as? Anything that you want clarified?

[Tom Smit]

Sidney, you are a goldmine of information and references. Some of which goes over my head

+1

Some of which goes over my head

Such as? Anything that you want clarified?

Perhaps everything?.....but that would take too much time (for me) sooooo.....it's learn as I go!LOL! I'll just keep reading.

TomS

[Sydney]

At 1st I thought this was just eye candy, but there is some useful mic stuff here:
http://www.coutant.org/contents.html

Some basic intro stuff here:
http://ilikemics.com/article.php?t_id=25

And other useful stuff here:
http://www.postaudio.co.uk/education.html

http://www.recordingeq.com/artindex.htm
Check:
http://www.recordingeq.com/articles/321eq.html

[Nordskov]

Some of which goes over my head

Such as? Anything that you want clarified?

I don't think either you or I are young enough for that (here I miss some kind of "Hearse" smiley)
I ment in general. You have provided information for a lifetime study in audio.

[bgavin]

Hey Bruce, I imagine that once you get your O12's going, it will be "so long OM6's"!

I dunno about that... the OM6 sounded awfully good over my four day event.
I had my Beyer M400 and two OM6 for the vocals. The M400 is darker, similar to the SM58, but didn't have the clarity of the OM6.
I would consider OM7, but they are even more unforgiving of bad mic technique than is the OM6.
The polar charts suggest OM7 is the ultimate in tight pattern control for feedback rejection.

My biggest PIA over the four-day event was the heat at 105+. The equipment and talent were roasting.
The next biggest problem was my cheap monitors... chronic feedback and insufficient volume.
They also got stepped on and two out of four suffered broken jacks. Part and parcel, and all that.
I EQ'd them close to the mid-boost curve used by the WH8, but they still were problematic.

The drummer for the headliner (Dave Russell) requires a monitor with strong, loud bass content at ear level.
I'm thinking a modified O15TB.
I could reduce the width and squeeze the height up to 48" for a smaller footprint.
This would put the mid horn at ear level for the drummer and eliminate raising a wedge to ear level.

[Nordskov]

You could check out the Sennheiser 935/945s. I haven't had any extra feedback problems compared to a B58 or 58. Also you could check out the Telefunken M-80. That is getting in some good reviews. Also, if you don't have too loud of stages the Heil PR-22 is another to look into. If you are looking to stay Shure the B87 would be my choice.

Take Care!
Phil

Thanks Phil.
I have tried a e845 and liked it. The e935-45 gets even better reviews, but I can purchase a D7 for less than 2/3 of the price of a e935 and that's tempting.
The M80 and Beta 87A are financially out of reach and the Heil PR22 is not widely available in Europe (actually I didn't find one source via Google)

[jeffbabcock]

Hey Bruce, I imagine that once you get your O12's going, it will be "so long OM6's"!

I dunno about that... the OM6 sounded awfully good over my four day event.
I had my Beyer M400 and two OM6 for the vocals. The M400 is darker, similar to the SM58, but didn't have the clarity of the OM6.
I would consider OM7, but they are even more unforgiving of bad mic technique than is the OM6.
The polar charts suggest OM7 is the ultimate in tight pattern control for feedback rejection.

.

I regularly use OM6 and OM7's. The OM7's do sound better overall than the OM6, and of course GBF is excellent as you might expect. Both mics though are excellent choices for loud stages. However they can be problematic for inexperienced singers who do not stay on the mic. If I suspect a singer will not stay on the mic then I certainly don't reach for the OM's.

My next mic experiment will be Heil PR35's, probably replacing a lot of aging 58's. Lots to like about those (except that they cost a lot more than a 58)