There is no such thing as "classical mics" and "rock and roll" mics. Schoeps and DPA and Gefell/Josephson [etc.] are used in "rock and roll" applications on a daily basis as AEA R-84's; Royer 121's; and Soundelux, MT Gefell; [etc.] are used everyday in both classical music production as well as film scoring applications.

There is no division that exists in the tool set nor how those tool sets are necessarily applied. The variation is set in the sounds that are being captured, but not in the method of capture.

While it seems that several segments of each discipline have latched onto certain tools and these tools in some ways are considered "the norm" for a particular genre, the more forward thinking recordists in these genres are more than happy to cross the "established" lines of conformity to attain the results that will lift the presentation to it's highest emotional level.

Several of my friends who work in film scoring and classical recording [one who even has a Grammy for Classical Producer of the Year] regularly use mics like the R-84's and Gefell UM-75's and other mics not thought of as "classical" mics in their productions... as I regularly employ Josephson amplifiers with Gefell "measurement" capsules in "modern rawk" kinds of applications.

sm57?

Fletcher wrote: There is no such thing as "classical mics" and "rock and roll" mics. Schoeps and DPA and Gefell/Josephson [etc.] are used in "rock and roll" applications on a daily basis as AEA R-84's; Royer 121's; and Soundelux, MT Gefell; [etc.] are used everyday in both classical music production as well as film scoring applications.

Hi Fletcher
I know that Microtech Gefell, Royer and AEAs are used in all kinds of music, it's just that I'm a little surprised that Schoeps, DPA and Sennheiser MKH mics don't seem to have the same profile as AKG 451s and Neumann KM-184s. I must admit that I'd love some UM-75s for classical work.

John Stafford