Boundary mics

John Willett said:
A couple of DPA 4060s, for example, make great boundary mics for recording a grand piano when stuck to the inside of the open piano lid. Actually DPA supply boundary adaptors in the kit.
Click to expand...

Sanken COS-11s (I'm not as much of a sanken fan as this thread makes me appear) also include boundary adapters.
 
Crown PCC-160s are the de-facto standard for stage edge miking in UK theatres simply because they always seem to work better than any other type of mic setup for even coverage and less nasty comb filtering when you use multiples. The PCC type help reduce pickup from the orchestra pit. Bruce Bartlett, who design d the original discontinued 160 sells his new version from his own company.

http://www.bartlettmics.com Have a look at the link here, some useful 'from the designer' comment.

Bruce made a short video to show how tough they were - have a look


Bruce has a sense of humour so I knocked my own British version up for him


They're not magic, but better than flown mics, better than cardioids on short stands and far more even than using shotguns. For theatre, gain before feedback is vital, and boundaries cut it - the others don't. Money is not an issue - if there was something more effective, we'd use it.
 
I used to have a pair of 160s and frequently used them tapped to the underside of the piano lid, where it had to be closed due to on stage visual issues. The isolation was an added bonus.:)
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paulears said:
Crown PCC-160s are the de-facto standard for stage edge miking in UK theatres simply because they always seem to work better than any other type of mic setup for even coverage and less nasty comb filtering when you use multiples. The PCC type help reduce pickup from the orchestra pit. Bruce Bartlett, who design d the original discontinued 160 sells his new version from his own company.

http://www.bartlettmics.com Have a look at the link here, some useful 'from the designer' comment.

Bruce made a short video to show how tough they were - have a look


Bruce has a sense of humour so I knocked my own British version up for him


They're not magic, but better than flown mics, better than cardioids on short stands and far more even than using shotguns. For theatre, gain before feedback is vital, and boundaries cut it - the others don't. Money is not an issue - if there was something more effective, we'd use it.
Click to expand...


I always run over my microphones, then call my insurance agent.

G
 
FYI, that microphone has been updated. More information is here: http://www.bartlettaudio.com/collections/boundary-recording-mic/products/boundary-recording-mic

paulears said:
Crown PCC-160s are the de-facto standard for stage edge miking in UK theatres simply because they always seem to work better than any other type of mic setup for even coverage and less nasty comb filtering when you use multiples. The PCC type help reduce pickup from the orchestra pit. Bruce Bartlett, who design d the original discontinued 160 sells his new version from his own company.

http://www.bartlettmics.com Have a look at the link here, some useful 'from the designer' comment.

Bruce made a short video to show how tough they were - have a look


Bruce has a sense of humour so I knocked my own British version up for him


They're not magic, but better than flown mics, better than cardioids on short stands and far more even than using shotguns. For theatre, gain before feedback is vital, and boundaries cut it - the others don't. Money is not an issue - if there was something more effective, we'd use it.
Click to expand...
 
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