beauford

Hey now, I have to agree with O-P here the microphone location is nearly as important as the mike itself. However I think you should keep in mind that once the "omni" microphones are in your ears in essence they really are not omni's anymore. If you look at recordings through InspectorXL software for example using its stereo meter plot function using my Core Sound HEB (DPA4061's) the plot tends to look more like a slightly bent (towards the front) figure eight than two omni's (I have a fat head) and the closer you are to the stage the less crowd noise you tend to get in my experience as well. So like I wrote in a earlier post, it's the great seat that ends up being the most expensive component to getting a really first rate recording. Again O-P is correct Len @ Core-Sound.com is really making you an offer that you can't refuse.

Ah, the subjective introduction of coloration! The simple fact is every link in the chain introduces it own compromises, distortions, and colorations, including your playback equipment. It is clear that even the ears you listen with will do the same. One of the beautiful things about the DPA 4061's is that they include different screens that acousticly modify the frequency response to compensate for their location on your body. So you use one screen for mounting the mics on your head, and a different one to mount them on your torso. As you might suspect your torso will add it's own coloration as well. I admit the selection of microphones is a time and $ intensive task and your ears and playback equipment will with their own compromises determine which ones sound best to you, but at 6'7" I think a head mounted pair is really a no brainer. I would from my experience highly recommend for head mounted microphones you consider Len Moskowitz's fine fabrication skills and visit the Core Sound Web site. Len fabs custom microphones in every price range, he fabed my DPA's and he also has a few versions using the Panasonic mics that many of our fellow posters have already mentioned here. I think it would be helpful to know what type of playback equipment you will be listening to you recordings on? (Ah, the magic land of N Z !!!! I have been buying tubes from NZ for a few years now seems like your fellow countrymen have stashed a lot of NOS tubes) Just for referance here what will you be using for a playback system?

Hey now, I am only 6 feet 1 inch tall and I have been recording concerts for a few years now maybe 80 or 90 shows so far and I have had good performance with a few different microphone setups. The least expensive very good being the Sony 957, (@ $175.00 US) The very best are my DPA 4061's with a Core Sound battery box (to line in), they are truly the best I have heard so far. I am now using them with two Sony HiMD 910's so I can get 3 hours and 8 min in PCM mode with out having to swap out a disc. This set up is by far the most comfortable and stealthy I have ever used. I use the DPA foam wind screens on the 4061's and simplly stuff them in my ears, the kevlar flesh tone leads are in a binural "Y" and tuck neatly under my beard, at 6'7" your work should be at least as good as mine probably a bit better with respect to crowd noise! The real controling factor is your seat (microphone) location I find the best results are a seat location near the center line in the first 15 rows, idealy the first 5 rows, so tickets are the real expense (not the DPA 4061 microphones @ $980.00 US) It seems that all the artist I like most almost all use Meyer Sound Line Arrays and frequently Meyer Sound Studio Monitors as toe ins for the pit area up front, where I like to be, and that really helps the quality of the recording when your lucky enough to be up front in the pit.