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Discussion Starter #1
Just saw this review posted on HornFX: http://www.horn-fx.com/intramic-article

Seems to be like a pickup that you don't have to drill. Not cheap, but the prospect of using effects without feedback issues is very appealing. However, for that price, I'd be very worried about the cable wearing out and needing to be replaced within a year or two where it's pinched between the mouthpiece and cork. Anyone used one of these?

Manufacturer's website is here: http://www.vigamusictools.fr/
 

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First thanks for posting about this microphone. I plan to take some time to read up, listen and find out more about this. I just now stumbled on this after seeing a post a few days ago from one of my favorite...and such a great saxophonist Bob Franceschini on his Facebook page giving praise for this microphone. If anyone else out there has information on their experience please post!
 

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It looks amazing and sounds good too from what I can hear. My main concern is intonation. Wouldn’t having a pickup inside the neck affect the horn’s intonation in some way?
 

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Discussion Starter #4
I decided to take the plunge and order one on the basis of the review I linked to in my original post, and also this one I found from a clarinet player: https://www.jasonalder.com/blog/201...2019/02/10/viga-intramic-clarinet-microphone/

It's in the mail right now, it shipped from France at the end of last week. I'm hoping it will get here at the end of this week or the beginning of next week so that I can play around with it over my thanksgiving vacation. I will post my impressions when I get my hands on it.
 

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It looks amazing and sounds good too from what I can hear. My main concern is intonation. Wouldn’t having a pickup inside the neck affect the horn’s intonation in some way?
This was my first concern as well. That concern was addressed by both reviewers saxonabike provided, and they both said that their tone was unaffected. Still a bit hard for me to believe, so I’ll be looking forward to the review from saxonabike on this thread. Very interesting!
 

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I also have ordered an intraMic - mainly for my soprano saxophone to avoid feedback and sound problems in our small band room (and on stage) and to experiment with effect pedals. I asked Victor, the manufacturer, about intonation and response with the intraMic, since it will be located right in the mouthpiece (a small Selmer Concept in my case). He said, they made many random blind tests with professional saxophonists and found no difference. He seems to be a nice guy to deal with.
I probably will get my intraMic in about one or two weeks and will report here.
 

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Looks like a great product, especially if you're into a lot of electronic special effects. But I'm not really into that; I prefer the unadulterated sound of the sax. I didn't look up the price, but based on the OP it sounds like it's expensive. I guess I'd rather just use a GOOD stand mic. Here's an interesting quote from the review given:

"I have always struggled with the tonal imprint imposed on my sound by microphones such as the Shure SM-57, the industry standard for live wind instrument mics."

Given my experience with the SM-57, this is a rather low bar and I don't know that I'd call a 57 the "industry standard" for live mics for a sax.

But all that aside, those who said they ordered one, let us know how it works out for you.
 

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In this demo he is comparing it to an EV RE20 and I can't identify the brand/model of condenser microphone used, and looks like a Shure clip-on mic. I consider the EV RE20 to be a high end microphone compared to a SM-57. On the Horn-FX site he has comparisons to his AMT which is considered pretty good for clip-on wireless. Even as good as the AMT is touted by many fine players I notice much improvement with the intraMic.

https://www.youtube.com/watch?v=o0O-sjkEB1M
 

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I see the kits costs between 500-630 euros, depending on accessories. Pretty surprising that having a microphone stuck in the bore doesn't have any effect on the instrument. It does sound great in the demos.
 

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I see the kits costs between 500-630 euros, depending on accessories. Pretty surprising that having a microphone stuck in the bore doesn't have any effect on the instrument. It does sound great in the demos.
That's not so bad. My DPA 4099 cost me $500+, and that was just for the mic. The Shure wireless system cost me another $700 or so. If the claims are true, this appears to be less intrusive/obstructive.
 

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In this demo he is comparing it to an EV RE20 ... I consider the EV RE20 to be a high end microphone compared to a SM-57.
Yes, I agree. The RE20 is a much higher bar than an SM-57. And in that clip the intraMic does compare very favorably with the RE20 and condenser mic. And sounds distinctly better to my ear than the clip-on mic. Looks like a really great product, again especially if you're looking for special effects. So it may depend on how you want to use it and also on your pocketbook. I'll take an RE20 for my purposes, but will admit the intraMic seems very good. I wouldn't use a condenser mic for live performance, but they are great in the studio.
 

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Discussion Starter #14
My intramic came sooner than expected--only one week to ship from france to texas, I was expecting longer! Relatively easy to set up, although it's a bit fiddly, and on my first try I must have not fully plugged in a cable, because I was getting barely any signal.

I replaced the radial voco-loco I had been using on my pedal board as a pre-amp/effects loop with a blender pedal (which has the added benefit of letting me control the wet/dry ratio with a foot pedal rather than a knob, something I'd missed having with the voco-loco), and ran the intramic directly into the blender, effects in the blender's loop, and from the blender to my usb mixer at home, and to the board on a gig.

Right away one of my synth pedals (pigtronix mothership), which was barely usable on bari with a stand mic or a clip on, worked great. I love the sounds I get with it, but was pretty close to selling it since I couldn't get it to work consistently across the range of the horn with a clip on or stand mic. (Better, but still not usable live, if I used a stand mic and adjusted my positioning relative to it as I moved around the horn).

No particular comments yet on sound quality, since I haven't recorded myself to listen back, but it's sounded good to me so far. I did not notice any effect on intonation or response with the mic in the neck, similar to what others have reported.

I took the intramic and pedal board out on two gigs over the weekend, both happened to be at the same club, which has a small stage and tends to get loud, making monitoring difficult at best.

On Friday, I played with a reggae/latin group. We were the first band of the night, so I got there early to have plenty of time to get things set up. Everything worked well with no feedback issues, and the sound guy said that it worked well on his end. It did take him a little bit of fiddling during our soundcheck to get the signal coming through.

On Saturday, I was back at the same place with an afrobeat group. We were the last group of the night, so didn't have as long to set up, and the band leader tends to get on stage and just start playing when he's ready, so I didn't get a chance to soundcheck thoroughly. He also doesn't like to use a sound person, so we run our own sound. The mic worked ok, but I cranked the gain way up on my channel and still wasn't getting as much volume as I needed, although I did get through the gig (using the alto player's stand mic for a couple solos). We played two hours pretty much straight through, so no time to fiddle with things or set up another mic. Not sure if the issue was with how I set up the intramic, how I set my levels on the club's board, or something else entirely, but I guess that's kind of my fault for taking new gear out without working out all the kinks at home.

But overall I think I'm going to be happy with it once I get used to set up/tear down and streamline the process. I also need to get something to use as a mute switch on my pedalboard, since a few of my groups do impromptu horn lines that need to be worked out off mic, and turning the volume knob on the preamp was clumsy, compared to the mute switch on the voco-loco.

Planning to play around with it more at home this week, and probably take it back to this same gig next Saturday if all goes well. I can also try to record some sound clips at home if y'all would be interested. I don't have a nice stand mic to compare it to, but could do a comparison with a dpa 4099 and a sm57. If I can figure out how to get reaper to interface with my little mixer, I might even be able to record all three mics at once to separate channels. (In theory it has the capability, but I've only ever used it to record one track at a time before, since I only record myself at home for personal use and occasionally in the past the TOTM on here).
 

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My intramic came sooner than expected--only one week to ship from france to texas, I was expecting longer! Relatively easy to set up, although it's a bit fiddly, and on my first try I must have not fully plugged in a cable, because I was getting barely any signal.

I replaced the radial voco-loco I had been using on my pedal board as a pre-amp/effects loop with a blender pedal (which has the added benefit of letting me control the wet/dry ratio with a foot pedal rather than a knob, something I'd missed having with the voco-loco), and ran the intramic directly into the blender, effects in the blender's loop, and from the blender to my usb mixer at home, and to the board on a gig.

Right away one of my synth pedals (pigtronix mothership), which was barely usable on bari with a stand mic or a clip on, worked great. I love the sounds I get with it, but was pretty close to selling it since I couldn't get it to work consistently across the range of the horn with a clip on or stand mic. (Better, but still not usable live, if I used a stand mic and adjusted my positioning relative to it as I moved around the horn).

No particular comments yet on sound quality, since I haven't recorded myself to listen back, but it's sounded good to me so far. I did not notice any effect on intonation or response with the mic in the neck, similar to what others have reported.

I took the intramic and pedal board out on two gigs over the weekend, both happened to be at the same club, which has a small stage and tends to get loud, making monitoring difficult at best.

On Friday, I played with a reggae/latin group. We were the first band of the night, so I got there early to have plenty of time to get things set up. Everything worked well with no feedback issues, and the sound guy said that it worked well on his end. It did take him a little bit of fiddling during our soundcheck to get the signal coming through.

On Saturday, I was back at the same place with an afrobeat group. We were the last group of the night, so didn't have as long to set up, and the band leader tends to get on stage and just start playing when he's ready, so I didn't get a chance to soundcheck thoroughly. He also doesn't like to use a sound person, so we run our own sound. The mic worked ok, but I cranked the gain way up on my channel and still wasn't getting as much volume as I needed, although I did get through the gig (using the alto player's stand mic for a couple solos). We played two hours pretty much straight through, so no time to fiddle with things or set up another mic. Not sure if the issue was with how I set up the intramic, how I set my levels on the club's board, or something else entirely, but I guess that's kind of my fault for taking new gear out without working out all the kinks at home.

But overall I think I'm going to be happy with it once I get used to set up/tear down and streamline the process. I also need to get something to use as a mute switch on my pedalboard, since a few of my groups do impromptu horn lines that need to be worked out off mic, and turning the volume knob on the preamp was clumsy, compared to the mute switch on the voco-loco.

Planning to play around with it more at home this week, and probably take it back to this same gig next Saturday if all goes well. I can also try to record some sound clips at home if y'all would be interested. I don't have a nice stand mic to compare it to, but could do a comparison with a dpa 4099 and a sm57. If I can figure out how to get reaper to interface with my little mixer, I might even be able to record all three mics at once to separate channels. (In theory it has the capability, but I've only ever used it to record one track at a time before, since I only record myself at home for personal use and occasionally in the past the TOTM on here).
Thanks for posting this initial review. Very interested in a comparison with the DPA 4099 as that is what I currently use.
 

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Nice review saxonabike, but the whole thing seems way too fiddly for me. I can just plug in my RE20 stand mic and go, at most just having to adjust the volume a bit. But that's just me; I'm sure there are a lot of players who could use the intraMic with great results.
 

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Discussion Starter #18
Thanks for posting this initial review. Very interested in a comparison with the DPA 4099 as that is what I currently use.
I did not end up getting a chance to record this past week, but I'll have some time later in the month. I'm juggling a couple of teaching jobs, so I'm a bit swamped now with finals season, but will have about a month off over the winter holidays.

Nice review saxonabike, but the whole thing seems way too fiddly for me. I can just plug in my RE20 stand mic and go, at most just having to adjust the volume a bit. But that's just me; I'm sure there are a lot of players who could use the intraMic with great results.
I'm the same way if I'm not using pedals, I usually even just use whatever mic the venue provides, and plan to keep doing that for many gigs. But I'm excited for the possibilities this opens up when I'm running through effects.
 

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If the feedback rejection capabilities are true, this would be a no brainer for performers.

Does it work on a flute?
 

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If the feedback rejection capabilities are true, this would be a no brainer for performers.

Does it work on a flute?
At present time I think they only make for saxophone or another model for clarinet and one for trumpet is being developed. The downfall for the one for trumpet is can't use a mute. Seems like if someone has one they might be able to use with flute. Years ago I had a Barcus Berry pick-up that replace the usual cork end on the flute and it worked but think there was good bit of key noise and more breath/air noise than using regular microphone.
 
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