perfect freedom for the musician to use mutes.
When cueing up the mic with headphones, I could
hear the musicians clearing their spit valves -
that was not noticeable in the sound system,
however.
I also used the clarinet LCM 82, a double mic
system that picks up the complete sound spectrum
of the instrument in an ideal way. The clarinet
is a fairly quiet instrument and the system mics
the instrument about 4" from the bell and
the middle of the keys, capturing all of the
sound of the instrument. Again, the shockmounting
is amazing in that no key opening and closing
sounds are heard.
All of the mic systems I used provided a very
natural, clear sound with no noticeable
coloration.This is what I like to hear in
microphones chosen for such instruments as those
mentioned here.
|
The sound patterns of the mics and tonality match
and complement the instruments very well.
Summary
The SD Systems LCM series of microphones for band
and orchestral instruments is an ideal solution
for musicians and sound engineers working with
ensembles. The series provides excellent sound
and the mounting system is of top quality and
design.
It would have been great if more of the systems
were available to me at the time so I could do
the entire orchestra. Having done a lot of
outdoor symphony shows, this product is a great
fix for providing optimum location for every
microphone, especially in environments with
players who are not familiar with proper mic
placement and technique.
|
It saves a lot of time on stage from continually
positioning and repositioning stands during a
sound cheek.
The performance of the player seems to be
naturally enhanced since the microphone becomes
an unobtrusive part of the instrument. I
recommend this product highly for musicians and
engineers working with the various models for the
instruments mentioned above, providing a more
consistent, natural result.
Contact SD Systems at 609-726-9202; or circle
Reader Service 141.
Mic specs and other information can be found
online at www.AdvancedSonicConcepts.com
Tom Young, a regular contri- butor to
Pro Audio Review, is currently sound engineer for
Tony Bennett. |
