The AT4060 has a smoother top end. However, I've heard of people using the AT4047 for flute in a great acoustic, but this is definitely a try-before-you-buy mic for this purpose.

The Rode is multi-pattern, which will give you greater flexibility when you're handling differing acoustic environments. My choice would be the AT4060, as I think has a particularly great sense of composure, but this is entirely a matter of taste. I happen to think that this is a very under-rated mic, but this also applies to Rode mics.

If I were in your position I'd consider buying two mics to record in stereo. The flute is an instrument that works great when recorded in this way. Come to think of it, it's sometimes possible to pick up the Rodes way below list price, so two of these might not go too far above your limit. That would be a very impressive setup indeed.

John Stafford

Thank you so much John, Yes, I guess the ideal situation woud be to get 2 at4060s or 2 K2s.

sun, why don't you stop over to the "Acoustic Music" forum and repost your question there? I think you'll find a lot of interesting feedback and ideas there as well.

Personally, I've had great success with a pair of good omni's for the room sound (with a solo classical flute) and a close up mic for detail, etc. FWIW, I wouldn't go with two cardioid mics on a solo instrument for "Stereo", I'd use the omni's for the overall soundstage and mix in the solo/spot mic front/center for a little detail. Also be aware of what it will all sound like in MONO. Granted, just about everyone listens in stereo, but it's just good practice to make sure it all folds up nicely into mono whenever you encounter it. (Table radios, cheap TV sets, etc.)

I conducted my own "shootout" with a vintage KMi-84 and AT 4050 on the flute, and (this time) the AT-4050 won out for overall warmth and a little less breathiness (which was actually a bit surprising to me.) The KM-84 always beats EVERYTHING I put up against it, but this time the AT won out. (It was also a VERY good recital hall as well.)

I mixed the spot mic with the omni pair and got a great natural blend of it all.

You can get a decent pair of C-4's for under $400 (from Studio Projects) with BOTH cardioid and omni capsules. They're not DPAs, but they'll get you started for your budget. Use them for the omni pair, and then get one of the large diaphram mics we're all talking about for the rest of your budget: AT-4050, 4060, etc.

Good luck with it!

Thank you JoeH
Very good ideas.

I got a pair of K2's and so far I've had great results recording stereo percussion (congas, bongos, shakers, etc) and acoustic guitar. can't wait to try it on acoustic piano or flute, for that matter.

I would recommend looking towards small diaphragm condenser mics or maybe a ribbon [like an AEA R-84]... on the small diaphragm condenser mic trail if you're looking for a good measure of air I'd look at the Josephson C-42 and if you're looking for something a bit more "natural" the Microtech Gefell M-300 might do the trick.

Best of luck with the project.

Fletcher - Joe - what do you think of the idea of a main main for the detail of the flute and two omnis? Would this work where the flute is part of a mix?

I usually lean to LDCs for flute. I'm currently involved in jazz flute record and I've been using the Soundelux E49 for the task with wonderful results.

Jan - where do you place the E49 for the flute?

For Fletcher, forgive my ignorance but what do you mean by "or maybe a ribbon [like an AEA R-84]... on the small diaphragm condenser mic trail..."

Thank you so much,
Sunflute

Wow the Sondelux E49 would be nice but it is beyond my budget right now.

AB2 wrote: Jan - where do you place the E49 for the flute?

Usually above and in front. About 1.5 - 2 feet above the player pointing down at a 45 degree angle with a wide cardiod pattern. The room makes a big difference with this technique.

Jan - what is the rest of your recording chain - pre - compressor, etc.
THANKS.

For this record I'm using an Avalon 2022 with no compression. The tone is big and 'earthy' (for lack of a better adjective).

AB2 wrote: Fletcher - Joe - what do you think of the idea of a main main for the detail of the flute and two omnis? Would this work where the flute is part of a mix?

That would depend mostly on the sound you're trying to achieve, the sound of the room, and if the sound you're recording will work in context to the music you're working on presenting. Could work great or it could be trash.

[quote=sunflute]For Fletcher, forgive my ignorance but what do you mean by "or maybe a ribbon [like an AEA R-84]... on the small diaphragm condenser mic trail..."

In context the original quote was:I would recommend looking towards small diaphragm condenser mics or maybe a ribbon [like an AEA R-84]...

Meaning that a small diaphragm condenser mic may often be the ticket for this kind of sound... and if that don't get it, then perhaps a ribbon mic [like an R-84] might be the ticket for that kind of sound.

I probably should have broken up the two ideas and elaborated on the ribbon mic thing... bad form, I lose 10 points... give that post a C- for form and a B maybe B+ for content.

Fletcher wrote: [quote=AB2]Fletcher - Joe - what do you think of the idea of a main main for the detail of the flute and two omnis? Would this work where the flute is part of a mix?

That would depend mostly on the sound you're trying to achieve, the sound of the room, and if the sound you're recording will work in context to the music you're working on presenting. Could work great or it could be trash.

sunflute wrote: For Fletcher, forgive my ignorance but what do you mean by "or maybe a ribbon [like an AEA R-84]... on the small diaphragm condenser mic trail..."

In context the original quote was:I would recommend looking towards small diaphragm condenser mics or maybe a ribbon [like an AEA R-84]...

Meaning that a small diaphragm condenser mic may often be the ticket for this kind of sound... and if that don't get it, then perhaps a ribbon mic [like an R-84] might be the ticket for that kind of sound.

I probably should have broken up the two ideas and elaborated on the ribbon mic thing... bad form, I lose 10 points... give that post a C- for form and a B maybe B+ for content.

I agree that the ribbon mic in some cases is the ticket.

I once did a recording with the Beyer M160 ribbon and I was extremely happy with the sound of the flute.

I'll have to check out the AEA R-84

Thank you for your answer.

JoeH wrote:

Personally, I've had great success with a pair of good omni's for the room sound (with a solo classical flute) and a close up mic for detail, etc. FWIW, I wouldn't go with two cardioid mics on a solo instrument for "Stereo", I'd use the omni's for the overall soundstage and mix in the solo/spot mic front/center for a little detail. Also be aware of what it will all sound like in MONO. Granted, just about everyone listens in stereo, but it's just good practice to make sure it all folds up nicely into mono whenever you encounter it. (Table radios, cheap TV sets, etc.)

JoeH, based on your recommendation I decided to get a pair of Peluso's CEMC6's with the omni capsules for stereo and an AEA R84 for detail. I will be using a Sytek 4 channel preamp into a fireface 800.

Question... How would you setup the small omnis? and at what distance?

I am going to be recording baroque solo flute music,

Thank you so much

JoeH, based on your recommendation I decided to get a pair of Peluso's CEMC6's with the omni capsules for stereo and an AEA R84 for detail. I will be using a Sytek 4 channel preamp into a fireface 800.

I am going to be recording baroque solo flute music,

Sounds very interesting! (To be clear, I didn't recommend THOSE mics per se, but I'm impressed with your adventurous choices! I'd be really curious to hear how this came out, if you ever get a chance to post an mp3 or whatever...)

The AEA seems like a good choice for the flute, and I'm also curious to hear how you like the Peluso's - there's been some dicssion of that line of mics over on the Acoustic music forum. They look like a good deal for the $$; minimal risk, even if they're just "OK" anyway.

As for spacing, you may want to experiment a little. Take a look at the pics they have (easier than me explaining it again and again here) on the DPA website for spaced omni's. Go to http://www.dpemicrophones.com and click on the "Microphone University" button on the LH toolbar. Take a look at the "Spaced Omni" photo to start with. (You can do it with two mic stands if you don't have a stereo bar - the spacing is the key.) You may also want to try them a little closer together, as well, if you're only recording a solo instrument, perhaps 12-18" instead of a meter; put the capsules 180 degrees to each other, each facing outward. (A little unorthodox, but it's worked for me - hey, they're omni's, and it's a solo instrument.)

Experiment, listen a bit, and experiment some more. If you like the sound you're getting, then you're on to something. You should be off to a great start with those mics!

Thank you

JoeH wrote:
Sounds very interesting! .... I'd be really curious to hear how this came out, if you ever get a chance to post an mp3 or whatever...)

Thank you so much, I will keep you posted. I am waiting for stuff to arrive, setup, try, etc. So, it will be a little while before I am ready to post something.

Thanks again