Looking for high end stereo mic like a Neumann Sm69 that can be used for live pickup as well as for recording.

I would post this in classifieds, but I am not sure what I should say I want to buy yet. So perhaps this is worthy of discussion here.

I thought of a Royer SF12, but can that be used live into a PA for a fairly good size hall. (I know it is great for recording)

Best,
AB

The AKG 426 is a phenomenal recording (and stage) microphone.

One of my favorite microphones ever.

If your system is set up right, you can use any microphone for PA. Heck, I'm using five Omnis hung 10 feet up for PA work next week. Means I can't turn the system up too loud, but I'm using them.

There are lots of great stereo mics out there. The AKG that Teddy mentioned is a favorite of mine as well, but they are no longer made and pretty tough to find. The Neumann SM69 (tube or fet) is also a great mic as are the offerings from Royer.

In the end, like any mic, you need to decide what kind of sound you're looking for and why you need that kind of mic. At that point, the choices usually become very clear.

Remember, the less directional the mic, the less gain before feedback you get out of a PA system. Sometimes this can be a big issue and sometimes it isn't- depends on the kind of music you're working with.

--Ben

I think the Josephson series 7 (700A/700S) looks very interestingthumbsup

Good luck
M

I wouldn't rule out the SF-21 for live work - it depends on the environment.

What kind of budget are you working with? You can find SM-69's all over the place for relatively decent prices [both the tube and the FET versions].

TELEFUNKEN Elektroakustik makes the M-216 which comes in 3 flavors [and is rather affordable in any of the flavors]... and the ELA M 270 which comes in one, very excellent, and very expensive flavor.

Both are in use every day in recording studios, on tours, with "taper dudes", etc.

Royers are also great... different sound, but pretty sounding to say the least.

I guess it really depends on your budget and your goals... then again, what doesn't?

Peace.

Just replied to your post at 3dB - IMO:

I know an AKG C422 or a Neumann SM69 would work well, and tho I have both, I wouldn't likely be using them in many 'live/onstage' applications. The Shure VP88 is one I'd probably choose due to its robust build, and cost, tho that mic is best suited for louder sources (IME) as it's a bit too noisy for low level signals.

I'm also very interested in the Senn MKH 80XX series - not heard them yet, and with already a boatload of SDC's, I can't see auditioning/purchasing more ATP...

good luck,

Brauner VM1 Stereo which I use is superb. For anything...

If you have a chance, do try it.

PM Sent

Thanks for all your posts. Please let me add a couple of criteria:
1. Under $3000 for the pair.
2. Not prone to feedback on stage.
3. Still good in the studio as well.
4. The instrument is not loud. (perhaps as loud as an acoustic guitar.)
5. The mics must be visually appealing in front of instrument as it is the main instrument.

Is the Telefunken M260 in hypercardioid a bad choice? Is there a better choice?
Is the Neumann SM69 going to provide feedback problems? The hall is like your average symphony hall. Large, which enough natural reverb, but fairly refined acoustics.

THANKS,
AB

The SM69 is multipattern so you could do hypercardioid or any variation to reject spill (fig 8, etc).

However, trying to find one for less than 3k is next to impossible...

I think SDC"s like the Senn 80XX might be a better option...

Any condenser microphone in the wrong hands will be prone to feedback... In the right hands, you can amplify omnis on stage.

With those criteria, you may want to see if you can find an AKG C34. multipattern SD stereo mic. Same capsules as a 451, but with a bit more refined sound. Works great on acoustic guitar. They are pretty difficult to find, though.

If you need a good quality mic that will have low bleed and a good sound, then get a single DPA 4099.

--Ben

With its 3 capsules you can generate as much surround channels as you like -and of course 2 channel stereo more versatile than with USM69. Great as a main mic or a spot mic and also for close micing instruments or voices.

I think this mic is a bit toooo out of budget for the OP.

A great option for the studio, but likely nothing I'd ever put up on a stage in a live situation...

For the kind of public unplugged events it works great for a group of instruments or singers. Right, on a high mic stand in front of a choir it might be a situation where some a wwworied. But still you have a lot of options to adjust the mic right to the situation just by using the faders on your mixer. Faster than runnung to the mic and move t closer or more distant …

The M-216 is the stereo mic, the M 260 is a small diaphragm tube condenser [so you'd need two for stereo which is absolutely do-able]... and yes, both will transfer from "live" to "studio" work without a problem.

Paul David Hager [Goo Goo Dolls - live & studio / Miley Cyrus - live & studio] has an M-216 that he uses for drum overheads in both applications [live & studio]... which doesn't mean its germane to any of your potential applications, just an illustration that it can be done, and that someone is doing it.

Peace.