Hello everyone… my first post here.
I’m excited to find a forum for fellow flute players.
My request for help:
Please suggest the best way to amplify a flute. I’ve used a sure SM57 dangling by my head. It kinda works… but there are feed back issues, If I get moving at all… I lose the sound…
I saw a Kila concert a few weeks ago and the main flute player was using something attached to his wood flute. It was not like the LA Sax clip on mike that has a 6 inch arm that you can point at various places around the embouchure hole. I wasn’t seated to far back so I go a pretty good look. It looked like it was attached right to the body of the flute between the blow hole and the corked end.
Does any body know what this system might have been… or have had success with something along this line. The group I play with sometimes gets pretty loud and I can’t even hear myself unless I’m amped.
Hi,
Check Terry McGee’s site, Scroll down the page and find the section titled “Flute Information” there’s a heading “Miking a flute for performance an d recording” http://www.mcgee-flutes.com
You might be referring to the setup that uses a special endcork that has a hollow stem. A mic is stuck on to the end and picks up sound thru the threaded stem. Had one years ago and didn’t like the sound but I’m sure the technology has changed. Anyone have a Silver Bullet mic? http://www.kksound.com/silverbullet.html
I have tried the Barcus berry end cork replacement style and it doesn’t do the flute justice.
I think that some type of very small condenser mike with a wind screen might be the ticket… just tape it on a few different spots till the right place is found. I’m still interested in any more thoughts on this problem. The flute is hard to mic and any thoughts from successful (at miking) performers is greatly appreciated
It’s a nice sturdy and versatile mic that can be used in the studio as well (you can use in the studio run on external phantom power or on stage with a AA battery… clever).
I think Paul Mc Gratten used this mic in conjunction with a portadat machine for the stuff he recorded at home for his new CD and the quality is great.
After that a decent preamp will really beef up and warm up the sound if you want to go a step further (cost maybe 150 pounds st. at tops)
The mic costs around 120 pounds stirling.
For what the good clip-on systems offer in terms of sound compared to a decent stand style mic at a fraction of the cost leads me to think that they are over priced. Hope this helps.
I was considering this at one stage, it’s generally thought of as a high standard on- flute mic. At about 500 U.S I think it’s too pricey and I came to the conclusion that I would not like the loss of the physical dynamics you have with a remote mic anyway but I haven’t heard any bad reports about it.
###Ooopppss### that one’s an arm sort as well. Not the one then.
I am even more wary of systems that attach directly to the flute’s surface.
Best, Harry.
Ps. Try an SM58 instead of a 57, it’s less directional. The 57 hung from above would set up a pretty narrow field to hit!
[ This Message was edited by: Harry on 2003-01-03 15:20 ]
I use a Shure Beta 58a when phantom power isn’t available, and an Earthworks SR-77 when it is. The Earthworks mic is fabulous; I bought it on Rob Greenway’s recommendation. These mics look like something you’d see in a dentist’s office, but they’re really excellent for live or studio applications. The Earthworks is more forgiving than the Shure in terms of proximity effect, so I feel more free to move about while playing. They don’t make the SR-77 anymore; I think it’s been replaced by the SR-78, although the SR-68 looks promising as a flute mic as well.
I like Harry’s solution the best, though: one great mic (AKG C1000) that you can use with batteries when phantom power’s unavailable.
[ This Message was edited by: bradhurley on 2003-01-03 17:17 ]
[ This Message was edited by: bradhurley on 2003-01-03 17:25 ]