Arny, you recently posted:
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To summarize, I've done about 100 recordings of about 250 musical works
played by about 90 vocal and instrumental groups in just the past maybe 30
days. All but one of those recordings were done in rooms that had really
pretty good acoustics (one was truely exceptional), and all were done with
the same coincident pair, really pretty good preamps, and a CD recorder
with a portable digital recorder as safety backup.

There are a number of prerequisites for minimal micing. One of them is a
good-sounding room. That wasn't my situation on the day I used 18 mics.

Use 18 if it floats your boat, but some damn
fine performances have been captured pretty damn well
with no more than two well chosen & well placed mics.

Of course, and as I've shown above, I do minmal micing when I can.

Contrary to your rediculous claim, I don't get my rocks off muling around
mic stands, pulling over 1,000 feet of mic cables and doing time-consuming
multichannel mixdowns. It's just that this is what was required in the
particular situation to get an acceptable result because the room acoustics
basically sucked, big time. BTW, the 18 mics included 4 coincident pairs,
mostly hypercardioids. The non-coincident mics were almost all cardioids.
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and you recommended the MXL603 as a good instrument mic. I've taken your
advice, and purchased a trial pair. These are subcardiods. You mention also
that you used some hypercardiods, which I believe I know as shotguns. May I
have the specifics on these? IME, good shotguns are extremely expensive. I
would appreciate further detail on what mics were represented in this
collection of 18.

"soundhaspriority"
wrote in message

and you recommended the MXL603 as a good instrument mic.

I bought a pair on the recommendation of Harvey Gerst and liked them, and
now have three pair.

I've taken your advice, and purchased a trial pair. These are
subcardiods.

Yes, MXL 603s are what I call "fat cardioids". Typical MI mics. Because they
are less directional they also have less proximity effect than the cardioids
normally used for vocals. This makes them more predictable. One of my pairs
is a matched pair with shock mounts. Since 603s have a lot of bass, the
shock mounts can be helpful.

My other main cardioid MI mics are Rode NT1A in Rode shock mounts.

I use a 603 as a vocal mic with an external foam pop filter. It just
happens to work well with our pianist's voice.

You mention also that you used some
hypercardiods, which I believe I know as shotguns. May I
have the specifics on these? IME, good shotguns are
extremely expensive. I would appreciate further detail on
what mics were represented in this collection of 18.

Most of my hypercardiods are Audix dynamics, mostly OM5s and OM6s. They are
not shotgun mics but look like traditional vocal mics. The two exceptions
are a Shure WL184 lav and a pair of Samson C01s that I use for the choir.

Samson C01s are cheap but cheerful side-address with sexy blue LEDs that
shine on things in their pickup pattern. I use them in Samson's shock
mounts because of their sensitivity to vibration from the floor. You have to
watch the shock mount if you use it on its side because the inner cage tends
to sag and touch.