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Electro Voice ND46 dymamic mic - anyone using it on tenor?

The EV ND46 seems to be the replacement for the N/D 468.
The latter got good reviews for being a decent, lower cost dynamic mic for sax.

Anyone using the ND46 on tenor?

Most reports have been for its use on drum toms or guitar cabs. I have yet to see or hear reports for use of the ND46 on saxophone.

I have seen a couple of reviews of the N/D 468 (one by Steve Neff), but I am interested in the ND46 and how it compares.
Thanks.
 

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I've not tried the N/D 46 but I've used a N/D 468 & 478 many, many times & liked em both, but am using a N/D 76 now & I like it more than the others. It's a large diaphragm mic & it works great for tenor.
 

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Discussion Starter #3
I've not tried the N/D 46 but I've used a N/D 468 & 478 many, many times & liked em both, but am using a N/D 76 now & I like it more than the others. It's a large diaphragm mic & it works great for tenor.
nd46 and nd76 have similar specs, the former being super cardioid, the latter cardioid.
Thanks for your post.
 

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I picked one up used over the holidays as a live performance mic, and have only had the opportunity to jam with it a couple of times. Sounds nice, but although it's supposedly supercardioid, it picked up my tenor when I was noodling around at mid-volume five feet to one side of the mic stand. Admittedly, the room had a bunch of plate windows, so the sound might've been bouncing around. I'll have to do some more tests of its sensitivity and pattern.
 

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Finally got the chance to field-test my ND-46 at a live gig last night with my very loud rock band, this time at a larger venue with a better stage and soundboard. I didn't bring my newly acquired TC FX-150 personal monitor, since I trusted the venue to get it right, and didn't want to add another variable to the mix.

Big mistake. The FOH engineer couldn't make my ND-46 work--she said it had a really hard pattern to EQ without high frequencies causing feedback, so couldn't give me much back from the stage monitor. But once I switched back to my trusty ATM-350 clip-on condenser, there was so much of my sax on the monitor that my guitarist asked to turn it down a notch.

Of course, once the place filled up and the adrenaline kicked in, everyone got really loud, and I could barely hear myself throughout the gig anyway. My pianist confirmed he couldn't hear any sax or vocals either. Though I was overblowing, a regular told me after the show that she could barely hear the tenor from the dance floor, though the alto was more discernible. The FOH admitted to me after the show that the levels were all too loud.

So I'm back to square one. Does the ND-46 really pose problems for most techs? Is it worth picking up a used RE-20, or would it have similar issues? Or should I just stick with a condenser, even if at the sacrifice of convenience and live audio quality?
 

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What would you recommend for a loud rock gig? The MD-441 gets good reviews, but is pricey even second-hand, and the 421 maybe doesn't isolate enough.
 

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What would you recommend for a loud rock gig? The MD-441 gets good reviews, but is pricey even second-hand, and the 421 maybe doesn't isolate enough.
I’ve had good luck using my Beyerdynamic m201tg. Tight pick-up pattern and a good response for sax. You are welcome to try mine - just shoot me a pm. In the situations you are describing I’ve always just figured the SM57 the sound guy wanted me to use would be fine since any nuances in sound spectrum or fidelity are thrown out the window anyway.
 

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That’s the review that convinced me to buy the 201. Mine isn’t for sale, but you can give a try if you like. I also have the re20, but I much prefer this mic over it in all settings. The re20 gave me trouble with feedback once I got enough gain to the re20. Even in quiet practice room recording I’m sometimes disappointed how much better the 201 does than the more expensive ribbon and large diameter condensers I have. While that might be a function of my room and technique, it does make for an excellent investment in my book. Looks like you can pick one up for 309 cdn from Reverb, with a return option.
 

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Thanks very much for your kind offer of a loan, but I wouldn't trust Canada post not to lose or damage your mic. Plus I'd really have to try it in a live setting to know anyway, and we don't have another gig booked at the moment. But your endorsement alone is helping to convince me that this mic's worth a shot. The cheapest ones on Reverb right now that ship to Canada are over $400, so no real savings off a new mic; but then I'm in no hurry, so can watch the market.
 

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I've been using a ND 468 for close to 20 years for live sound and I've also used it for casual recording. I'm satisfied with the 468, I've done several hundred gigs on the mic and it's been quite the reliable workhorse. It's nice to see others here singing its praises.
 

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Praise here on SOTW for the ND-468 and ND-46 are the reason I picked up this mic. So maybe the problem isn't with its ability to isolate loud stage noise, but with my use of it.

I had the mic on a horizontal stand raised to about chest height, and angled on its own pivot about 75 degrees directly down at my sax and off-axis to the monitor, with the back of the mic angled upward toward the ceiling. The cable ran into an Eventide Mixing Link, with the dry signal ran out to the FOH via XLR, and I played as close in as possible without hitting the mic.

What am I doing wrong? Or was it just the sound engineer's lack of familiarity with this mic? Does anyone have any other suggestions for mic placement or EQ to prevent feedback? Would a sound reflector mounted on the stand around the mic help at all?
 

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I've never had a problem working with a pro sound engineer regarding the use of my 468. I wouldn't form any opinion at all until you use it again, not all people twirling knobs at a mixing board are qualified to do so.
 

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No doubt. I'm guessing it's about the overall mix and not one specific mic, but a lot of folks here do recommend going with a mic the engineer knows well. Is there anything I might tell the sound tech about this mic that would help them get it right if the problem arises again? Does it help them to know, like, frequency cut-offs or max SPL or other technical specs, or do they just play it by ear? Would boosting the gain on my pre-amp or EQing it myself help to eliminate feedback, or just make things worse?
 

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Working with the EV microphones shouldn't be much different than working with a Shure SM 57. Most of the vital stats are similar, most sound techs are not going to care about what the stats are.
 

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Would boosting the gain on my pre-amp or EQing it myself help to eliminate feedback, or just make things worse?
ZootThe Sim,
This is the first time in SAXPHIL's thread that you mention your preamp. What preamp is it?

Are you sending your soundman a DI (mic level) or LINE level signal from your preamp?
 

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ZootThe Sim,
This is the first time in SAXPHIL's thread that you mention your preamp. What preamp is it?

Are you sending your soundman a DI (mic level) or LINE level signal from your preamp?
Right, sorry about that. The mic is sent into an Eventide Mixing Link, and out the DI/Line Out port to the FOH via XLR. I brought the gain on the Mixing Link down all the way, but the sound tech just couldn't get the levels right.

Once I swapped out the ND-46 for an ATM-350, it worked just fine with plenty of volume to the house and the monitor. Of course, after the show started and the band turned it up to 11, my own levels were all way too low.
 

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Working with the EV microphones shouldn't be much different than working with a Shure SM 57. Most of the vital stats are similar, most sound techs are not going to care about what the stats are.
Yeah, so I figured. Not sure why the EV posed such a problem then.
 
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