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Omni mic advice

Member for

15 years 5 months
I don't own any true omnis. When I want to use one, I go with a C414 in omni mode. So what omni mics (and at what price) would be a clear step up from the C414s either for use as omni outriggers in orchestral recording or for close micing of acoustic instruments. (I've used the C414s as omni outriggers, but have usually chosen another pattern when using them in the studio.)


Member for

13 years 10 months

bent Mon, 11/19/2007 - 20:12
I wouldn't necessarily say they're much of a step up, but have you tried the KM183 - smaller profile, works well on acoustic guitar, might be up your alley?

Edit> I've also had some very good results live with the 480 / 62 omni capsule on stage with choirs and such, perhaps you might want to check them out as well?

Crankitup sez:
I don't know why you'd want an extra dedicated omni mic

Choices, man! Experimentation, that's the name of the game!

Member for

15 years 5 months

BobRogers Tue, 11/20/2007 - 05:11
Crankitup wrote: the 414's are nice mics. I don't know why you'd want an extra dedicated omni mic
Well for orchestral recording I'd probably move the 414s to my middle ORTF pair and use the new omnis as outriggers. Now, I do orchestral recording on a volunteer basis for the local High School. So I can't justify buying a pair of Schoeps just for that. But I'd really like to try true omnis for acoustic instruments in the studio. (And yes, I'd be better off just working on making better music and recording with what I've got.) It will be a while before I wrap my mind around a situation where the Neumanns are the "bargain" option.

Member for

16 years 7 months

moonbaby Tue, 11/20/2007 - 06:13
How about a pair of the Rode NT-55's with their omni capsule? I attended a classical guitar concert last month at a local recital hall. One of the students' dads came down from Atlanta and recorded it. He used a pair of NT-55s; one in cardioid at the lip of the stage, the other in omni in the room. The playback was unreal-great depth and detail. He said that a dealer had loaned him various DPA, AKG, and Neumann SDC's to try, but that the Rodes did almost as well, and at their price...

Member for

17 years 6 months

Cucco Tue, 11/20/2007 - 11:21
Consider the AKG Blueline as well.

Also - the reason why to use a dedicated omni (as David hinted to) is that a dual capsule design does not create omni the way that a mechanical pressure microphone (true omni) works.

A true omni has unbelievable clarity in the LF - it has to be heard to be believed. It has virtually no limitations in regards to pickup of LF at a distance.

These are things that a switchable pattern mic cannot do (exception - Schoeps CMC 6 mk5 - but that's a mechanically switching mic).