On Thu, 1 May 2008 11:59:21 -0700, Beta Zero wrote
(in article
<Pine.LNX.4.44.0805011145140.28045-100000@[EMAIL PROTECTED]
>):
>> "Beta Zero" wrote in ...
>>> (Trying to record a music band outdoors)
>>>
>>> Please give me some advice-
>>>
>>> I'm thinking of digitally recording an outdoor musical performance
>>> in late June 2008, and I am worried that some microphones are
>>> subject to failure, or at least an unusual performance of some kind,
>>> if the microphones - or the wire hookups - sit around baking in the
>>> sun. If the weather is in the mid 90s F, in the shade, and even
>>> worse in direct sunlight, should I take precautions like shading the
>>> microphones in the shade of an umbrella or parasol? Or am I
>>> worrying about something that's not worrying about?
>>
>> Lots of microphones are used in direct sunlight in hot places.
>
> In the olden days, microphones had membranous diaphragms of some kind,
> and the way these things responded to vibrations, had a lot to do with
> the frequencies transmitted. I figured that a 'hot' microphone would
> produce a different range of sounds than a 'cold' one.
>
>> If you are operating in harsh conditions, then use microphones
>> that are made for field use. For example, dynamic mics are
>> likely less susceptable to either tem****ary or permanent
>> damage from ambient heat.
>>
>>> I won't have access to AC current, as I'll be running off batteries;
>>> that also means there isn't going to be an amplifying system, and
>>> the performers will just sit around strumming their strings, or
>>> banging their drums, or whatever. I figured that decibel
>>> alterations will be available to me during post production editing.
>>> (Yes, there will also be some cameras around, but I don't want to
>>> use their microphones as they may be around 30 or 40 feet away from
>>> the performers.)
>>
>> You didn't mention what you are recording on/with?
>
> An Olympus LS-10,. Will that work? It's on order. I understood that
> you can plug 4 microphones into it. The software package is iListen
> for an unexpanded Mac 'mini.' I am gritting my teeth for the nerve and
> reserve to buy a Marantz, it's just that it is kind of spendy, so I
> have to put that off for a couple weeks. Ditto with regards to the
> microphones. But all the hardware has to be in my hands by mid-June.
>
>>> Which microphones are best for this sort of situation? I haven't
>>> bought them yet, and noticed that some microphones are very
>>> expensive. My budget is $800 for microphones alone (at about $150
>>> apiece) but I would like to divvy that up between two separate
>>> recording systems,
>
> I.e., two microphones per performer.
>>> where each music performer has two microphones on stands, and
>>> if the first system fails, the second system is bound to pick
>>> something up.
>>
>> The old standby Shure SM57 & 58 will likely take the heat and
>> they are cheap enough to have 100% backup on your budget.
>
> At a hundred bucks apiece, 8 microphones would eat up the entire
> $800 budget. I was hoping the secondary microphones - attached to
> the backup recording system - could be in the $50 to $60 range.
> Would that be a bad idea?
Try a pair of the Behringer C-2s. They come as a stereo pair of cardioid
condenser mikes complete with a T-Bar and retail for about $50/pair in
their
own fitted case. They are excellent for vocals, piano, drum sets, etc.
BTW,
they come with foam "wind socks" to help attenuate wind noise.
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