Mics!

[TThomson]

Hey y'all!
So I'm looking at some mics and was wondering if y'all had any input for what might be best. The type of recording I do is all live off the floor done with one mic. The two mics I've been eying up are the RCA 77d and the RCA 74. Ill be running it through two preamps then into the cutter.

[concretecowboy71]

All depends on what you want to do. Those mics are ribbon mics and most are bi-directional (figure . If sound isolation is what you are looking for choose a tighter polar pattern.

Any microphone will work. Decide what sound you want, research mic types and go for it.

If you go with a ribbon, there are more affordable ones out there than those vintage RCA microphones and might suit you better until you need more $$$ gear.

[Discomo]

Hey y'all!
So I'm looking at some mics and was wondering if y'all had any input for what might be best. The type of recording I do is all live off the floor done with one mic. The two mics I've been eying up are the RCA 77d and the RCA 74. Ill be running it through two preamps then into the cutter.

I think you're in the right direction. Ribbon microphones are excellent for allround recording. I have an RCA 44BX myself but there are many other great and cheaper Ribbons.
In the past these mikes were used in the studio to record entire orchestra's. Because of the 0 point in the mike (the point where it records 0 sound) the engineer was able to give each member of the orchestra it's proper place, in a full circle around the ribbon microphone. Loudest instruments at the side, near to the zero point and softest in the middle (as you know ribbons record at both sides of the mike, both front and back- the sides are the zero point). The singer was positioned close to the mike. Because of it's proximity effect you can get different colorations out of one mike and is thus also well suited for recording only one instrument.

There is much more to say about ribbons, but for your application (live recording with one mike), it's a very good choice. Only be aware the ribbons need a strong preamp amplification. 50db minimum. The AEA TRP is a good and affordable stereo preamp made for ribbons.

[smithadamm]

I've done a lot of orchestra recordings with a lot of different RCAs. I loved ribbons for live recording because of the null that figure 8 provides, you can get a lot of isolation where you need it depending on where the player are. I would generally say stay away from 77's and look into 44s or 44 clones. 44's can take more volume than 77s and I think they sound better overall but that is just my opinion. If you really like 77s, you can get a veracoustic for cheaper and they are very similar mics. I don't think its really worth it to pay top dollar for vintage RCA ribbonsunless you get a good deal on one when AEA and the like make comparable mics for cheaper, but again, just my opinion. Lastly, if you have the money to spend and a stereo setup, nothing in this whole world beats a tube SM-69 for live off of the floor recordings, I've done barbershop quartets, marching bands, jazz orchestras, Gospel Choirs and punk rock bands live through an SM-69 and it all sounded better than real life.

edit: also, I agree with everything Discomo said

[Discomo]

I see a nice SM-69 here for a reasonable price it seems. Not bad for a stereo mike.
https://www.ebay.com/itm/Vintage-Neumann-SM69FET-Stereo-Condenser-Microphone-w-Cable-PSU/112969245928?hash=item1a4d7de4e8:g:LM4AAOSwBV5abxzd
Considering that RCA 44's go for the same price for only one...

nothing in this whole world beats a tube SM-69 for live off of the floor recordings, I've done barbershop quartets, marching bands, jazz orchestras, Gospel Choirs and punk rock bands live through an SM-69 and it all sounded better than real life.

Just a side question, since I don't have a lot of experience with tube condensers;
How do you record an orchestra with this mike? Do you ask them to take a certain position towards the microphone?

It seems like a fantastic mike; of course very different from an RCA ribbon in sound
The 44 (and also in slightly lesser extend the 77) is very dark, warm colored, yet very natural sounding. Whereas the SM-69 as I gather has a bright and clear tube sound (and I'm certain also natural sounding), but I'm certainly lusting for one (or another nice tube condenser (btw, here's a nice shoot-out https://www.youtube.com/watch?v=HGMYn0ZoLN0)).
The proximity effect of the 44 / 77 is very useful as wel... I find it gives a nice depth in the sound (sounds closer by sound warmer / sounds further away colder). Also, the mike may be mono, but because it records on both sides you also record the room reflection. Which really adds to the depth of sound.
Of course with a stereo mike you get the same.

[Discomo]

nothing in this whole world beats a tube SM-69 for live off of the floor recordings, I've done barbershop quartets, marching bands, jazz orchestras, Gospel Choirs and punk rock bands live through an SM-69 and it all sounded better than real life.

Ah! Skip the question about the orchestra recording. See it's figure eight...