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bfoster64 said:
I have an omnidirectional Beyer Dynamics clip on mic and it seems to work on bari, though perhaps not quite as well as on alto and tenor. I clip it on the bell and point it slightly towards the body of the sax. With a little EQ, the output is pretty balanced between the low, mid, and high.

I've had some problems with feedback on occassion, however, which would probably be mitigated by a cardioid mic, so I'm thinking about getting a replacement, perhaps a Shure Bet 98 h/c.

Using a second mic for the bari high end does seem like a good idea, though.
Not necessarily. The interaction between the mics could be undesireable (comb filter effect).
 

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hakukani said:
The filter is down 3dB at 80Hz, the roll off is rather gradual. On many mics the rumble filter is switchable. You could always compensate on the channel eq.

I've not had that problem, even with low A's.
Yup, and the numbers are "a bit nominal" - you often get a switchable 80Hz filter on the channel as well as on the mic - hit both on a tenor and it makes little or no difference - on a bari, it just might.

The usual rule applies - listen carefully and make up your own mind.
 

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Clarifications on responses

DougR
Unless I miss my mark, the bottom Bb on a bari is 70Hz - now quite a lot of kit has a Hi-pass rumble filter (80Hz ish) - so if accuracy on the bottom couple of notes are really important - you might want some care.
Can you explain the reference to "kit" and what the implication is for a Low A bari (would it be worse)? And I'm not sure whether your comment refers to a specific mic, or bell mics in general, please clarify. (I am perhaps not as technical as some of you on these issues.)

Hakukani
The filter is down 3dB at 80Hz, the roll off is rather gradual. On many mics the rumble filter is switchable. You could always compensate on the channel eq. I've not had that problem, even with low A's.
Can you translate for a non-electronics-techie?

Dr. Sax
Long ago I always used a AKG 419 clip for S/A/T and swiched to a SD LM94. Much better and fuller response. And recently used it on my bari. My deep A really rocks the house. Lots of fun.
Can you provide a link to the SD LM94 - i did a search both on Google and on an equipment site with no hits. I take it that you felt the SD LM94 was better also on the bari.

Grumps
I use the AMT Roam 1 Elite wireless clip-on that I use on alto and tenor for bari as well, but while on bari I'll move over towards my vocal mic stand so that picks up the high end.
I take it, then, that the AMT doesn't do a good job of picking up the high end - so is that your vote against it? Do you have a link?

DougR
Yup, and the numbers are "a bit nominal" - you often get a switchable 80Hz filter on the channel as well as on the mic - hit both on a tenor and it makes little or no difference - on a bari, it just might.
Can you please translate?

I gather that many of you are quite conversant on the electronics science behind all of this. Unfortunately, while i am technical in some other areas not relevant to this thread, i think my wavelength oscilated and fell off your KHZ/HZ etc, y tal, and straight-lined. :? Perhaps you could elaborate the implications of the technical observations you are intending to make in plain English for the benefit of people like myself who don't have that background.

Thanks and i look forward to your current recommendations on a mic for a Low A bari sax.

Conrado
 

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stand mics:

sm57
sm58
Electrovoice RE20
Sennheiser 421, or 440

clip ons:

wired

at 35
AKG 419

wireless

AMT Roam
Samson airport77 wind instrument AH1 (This is the one I'm using presently).

Cheers
 

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Conrado said:
Grumps... I take it, then, that the AMT doesn't do a good job of picking up the high end - so is that your vote against it?
No, I wouldn't say that at all. It's not a problem on alto, tenor or curved soprano, but it's just that my bari is a really old Conn, keyed only to Eb3 and the bell is very low in relation to the top stack compared to modern bari's. For alto and tenor I clip it on the bell and aim it at the G# key and all's fine and dandy. I'm sure you could find a retailer with a Google search, but are rather pricey at over $500. Worth it though. No belt back. No wires. No complaints from soundmen.
 

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ATM Roam 1 Elte

Grumps said:
No, I wouldn't say that at all. It's not a problem on alto, tenor or curved soprano, but it's just that my bari is a really old Conn, keyed only to Eb3 and the bell is very low in relation to the top stack compared to modern bari's. For alto and tenor I clip it on the bell and aim it at the G# key and all's fine and dandy. I'm sure you could find a retailer with a Google search, but are rather pricey at over $500. Worth it though. No belt back. No wires. No complaints from soundmen.
Thanks for your response. I am curious about the last part. I just found a UK and a US review on the ATM Roam 1 Elite.

UK Review: Has many positives to report on the product, and negative comments are mainly about the cheap case and having just 1 channel (though no problems reported as a result).

http://www.shwoodwind.co.uk/Reviews/Roam.htm

US Review: This reviewer sent it back because the 1 channel available conflicted with a local SFO TV channel as well as other significant on-stage problems with the sound system, calling it an idea before its time and awarding only 2 out of 5 stars.

http://www.engineers.com/amt.htm

ATM Roam 1 Elite Product site

http://www.appliedmicrophone.com/products/show/1

Although the US review page says last edited in Dec 2006, the current product website states that the product has 6 channels (vs 1), so i wonder if that is a newer feature making the channel complaint moot.

In any case, it sounds like it is still somewhat pricey close to the $600 range. Is there a comparable less expensive wired system?

Thanks,

Conrado
 

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Conrado said:
Although the US review page says last edited in Dec 2006, the current product website states that the product has 6 channels (vs 1), so i wonder if that is a newer feature making the channel complaint moot.
No, each unit gets one UHF channel, but there are six to choose from. I'm surprised the US review was reviewing the Elite and not the earlier model that some folks had problems with. I know there was talk of a UHF television station in the mid-west that could cause problems, but not in San Francisco. I've never had any of the problems mentioned in that review, but for the pop when you turn it on (and that's the only time it does that for me). I don't mind the case so much either, and it's held up fine for these last couple of years.
 

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Grumps, Thanks for the clarification on the channels.

Dr_sax said:
Sorry, I mixed up the numbers of my mic. It is really a SD LCM 89 but great for bari anyway. See the link to their site:
SD LCM 89
Thanks for that link - helps alot. Does the high end get picked up as well (and would it perhaps even more on a low A bari given the bell is higher)? Does it get any distortion on the sub-C notes? Is it wired/wireless/both? (I couldn't tell for sure on the product page)

Thanks - Conrado
 

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I also believe the new AMT Roam1 is shipping with the samson airline77 receiver. Grumps: Is your receiver the older non-diversity (one antenna), or is it the current airline 77 diversity (two antenna) system?
 

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Conrado said:
Thanks for that link - helps alot. Does the high end get picked up as well (and would it perhaps even more on a low A bari given the bell is higher)? Does it get any distortion on the sub-C notes? Is it wired/wireless/both? (I couldn't tell for sure on the product page)

Thanks - Conrado
It is wired. It has a small preamp included with gain and tone control. SD recommends to stay wired for best sound but if wireless is wished they recommend shure or sennheiser transmitters.
The mic does not get any distortion in all registers and does work great in lound environments. The sound quality is so good that I also use it in the studio.
I got mine for a good price because I shop closed down and they wanted to get rid of all inventory.:D
 

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Dr_sax said:
It is wired. It has a small preamp included with gain and tone control. SD recommends to stay wired for best sound but if wireless is wished they recommend shure or sennheiser transmitters.
The mic does not get any distortion in all registers and does work great in lound environments. The sound quality is so good that I also use it in the studio.
I got mine for a good price because I shop closed down and they wanted to get rid of all inventory.:D
Dr. Sax - thanks for the info - it sounds like a very good option. I have done a search on the Internet and was not able to find pricing info on it and what i did find seems to be in Holland, Canada or France. Is there a US dealer for this product?

Thanks,

Conrado
 

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I've scoured this forum and the net on this question and am considering the more traditional solution of a stand up mike versus a clip-on. I found that among bari players the Audix D4 and D6 are popular, with Dr. Krupa of TOP being a user of the D4. But i have read some comments that the D6, which is advertised more as a drum mic, is even better than the D4.

Has anyone ever compared the D4 vs. the D6 playing a bari in a live performance? Opinions welcomed.
 

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Conrado said:
Has anyone ever compared the D4 vs. the D6 playing a bari in a live performance? Opinions welcomed.
Audix makes great mics and I've used those on drums before, but never sax. I've been thinking of buying one of those for recording kick drums anyway, so I might give it a try.
 

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littlemanbighorn said:
Audix makes great mics and I've used those on drums before, but never sax. I've been thinking of buying one of those for recording kick drums anyway, so I might give it a try.
Let us know how they work on bari if you have a chance anytime soon to try it out. (waiting) :faroah:
 
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