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    The Los Angles Guitar Quartet

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    Milan Dimitrijevic
    The Los Angeles Guitar Quartet found that the Neumann KM 184 microphone provided the best amplification for classical guitar performances. They had tried many other microphones over the years, but the KM 184 produced a warm, dynamic, and realistic sound without needing extensive adjustments. Its reliability on tour was also excellent, with the microphones continuing to perform well even after heavy international use. The KM 184 received an award from Acoustic Guitar Magazine for its effective amplification of classical guitars.

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    The Los Angles Guitar Quartet

    Uploaded by

    Milan Dimitrijevic
    98 views1 page
    The Los Angeles Guitar Quartet found that the Neumann KM 184 microphone provided the best amplification for classical guitar performances. They had tried many other microphones over the years, but the KM 184 produced a warm, dynamic, and realistic sound without needing extensive adjustments. Its reliability on tour was also excellent, with the microphones continuing to perform well even after heavy international use. The KM 184 received an award from Acoustic Guitar Magazine for its effective amplification of classical guitars.

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    The Los Angeles Guitar Quartet found that the Neumann KM 184 microphone provided the best amplification for classical guitar performances. They had tried many other microphones over the years, but the KM 184 produced a warm, dynamic, and realistic sound without needing extensive adjustments. Its reliability on tour was also excellent, with the microphones continuing to perform well even after heavy international use. The KM 184 received an award from Acoustic Guitar Magazine for its effective amplification of classical guitars.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    98 views1 page

    The Los Angles Guitar Quartet

    Uploaded by

    Milan Dimitrijevic
    The Los Angeles Guitar Quartet found that the Neumann KM 184 microphone provided the best amplification for classical guitar performances. They had tried many other microphones over the years, but the KM 184 produced a warm, dynamic, and realistic sound without needing extensive adjustments. Its reliability on tour was also excellent, with the microphones continuing to perform well even after heavy international use. The KM 184 received an award from Acoustic Guitar Magazine for its effective amplification of classical guitars.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 1

    Report

    The Los Angeles Guitar Quartet finds "The Way" with Neumann

    June 1999 by Andrew York

    Classical guitar is a notoriously difficult instrument to amplify. It is very


    quiet, which causes the gain to be higher than is required with many
    other acoustic instruments. Compensating by miking closer can give an
    artificial sound because of the large variations in timbre emanating from
    different points on the top of the instrument. The level of difference in
    the quality of amplification for classical guitar by mic choice alone is
    staggering. Ideed, we have tried many different mics, and have been
    nothing but very satisfied with the KM 184 in every area of comparison.
    Before the KM 184s, the LAGQ traveled with small hyper-cardioid
    condenser mics lavalier-type mics with a built-in goose neck). After
    using them for a while, we noticed some drawbacks - they were pretty
    noisy and the hiss would often be audible through the PA. The low
    frequencies weren't well enough represented - the guitars would often
    sound 'boxy' even after trying to dial in some of the bass depth with eq.

    But worst of all, the mics we were using didn't travel well. They seemed
    to degrade in performance over time, and finally began to fail
    intermittently. That of course is an insurmountable problem when
    touring. In contrast, the reliability of the Neumann mics has been
    fantastic; we've yet to have one fail, or even give a hint of a problem,
    which is remarkable considering our heavy touring all around the world.
    In 1996, the quartet was invited to perform in an important
    international festival in Europe, and the sound technician had a variety
    of mics for the artists to try out. There were models costing several
    thousand dollars, and we tried many different types, models and
    brands. The microphone that made us sound best was the Neumann KM
    184, which had a very warm and dynamic sound, and excellent realism.
    We had then heard what we needed to know so that we could decide on
    which microphone to travel with and use for our concert amplification.
    Just as many musicians do, we remained curious about product
    developments and wondered if there might not be newer microphone
    types that could work even better. About two years ago we met with a
    company that made sound-hole mics with a clever mounting system.
    We worked with them all day, tried a dozen different models and
    capsules. Despite the expertise and best intentions of the company rep,
    we couldn't get a realistic sound, no matter how we manipulated
    placement and eq. By comparison, just a quick rough placement of a
    KM 184 in front of the guitar usually gives a superior sound that other
    mikes won't begin to emulate without extensive work with mic
    placement and eq. The KM 184 received Acoustic Guitar Magazine
    "Player's Choice Award" Fall 1998.

    1 von 1 12.06.17, 14:18

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