Choir mics - AT U853 vs AT4041

[hemismith]

How does the AT U853 compare to something like the AT4041 or SM81 as a choir/large area stage mic? The latter are quite a bit more expensive. I assume the similar PRO 45 and AT2021 are not near as good given they're less than half the cost. Any better options in the under $200 range?

 

[FMEng]

How does the AT U853 compare to something like the AT4041 or SM81 as a choir/large area stage mic? The latter are quite a bit more expensive. I assume the similar PRO 45 and AT2021 are not near as good given they're less than half the cost. Any better options in the under $200 range?

It seems like you are comparing apples to oranges, because the 853 is for hanging, and the 4041 is for stand mounting. It all depends on your need, but hanging mics can be pain to set-up for non-permanent uses. Most troublesome is getting hanging mics to stay pointed in the right direction. They have to be allowed to hang for days before they'll stop un-twisting.

The 4041 looks better suited for recording than sound re-enforcement. It has a poorly controlled cardioid pattern. The null isn't great across the band, but it is surprisingly poor at high frequencies. I would be concerned that it would be prone to feedback.

In that same genre of mic, take a look at the Shure KSM137. It has good directional characteristics and also has lower self-noise.

 

[BillESC]

I use the U853 for a number of applications with excellent success.

For temporary choir micing, I use the supplied mic stand adapter on a tall boom stand. I've also used them at the lip of a stage for skits on shallow stages. I've also used them as the overhead mic for drum kits with great results.

Handy mics to have in your kit IMHO.

 

[hemismith]

Thanks very much for the reply. Yes, I am comparing apples to oranges, but both are food.

I agree, hanging mics is always inconvenient and often not possible. That's why I was excited when it was suggested to just put a small condenser on a stand. However, since the 853 comes with a stand mount adapter, it seemed like a good idea as I could use it both ways. And the cost is attractive. I don't need the low-frequency response of an instrument mic, and the 853 is favorably reviewed, but I was curious how it compared to the more expensive mics. But I didn't even think to look at the spec sheet. Wow, some of the patterns are not too good; the KSM137 definitely seems to be the best of the bunch, and the cost is excellent compared to the competition. I've never really looked at the KSM series. I do find it odd though that Shure doesn't list choirs as one of the applications, whereas they do for all their other small condensers. Some of the mics I looked at are specifically designed for close range; I hope it isn't that way. The AKG C1000 is another similar mic, but again the pattern isn't as good.

It seems that pretty much all the good mics are $300, but I was hoping to find something under $200.

 

[wolf825]

FWIW I have used the AT 4041 live many times...I have used them on many instruments (they do well on acoustic guitars and wind instruments) as well as for choirs & groups--in a nutshell they do a good job, pick up very well and are not overly prone to feedback in live situations more then any other mic--but then most feedback and gain issues for live events IS on the shoulders of the operator/mixer person for proper placement and gain structure etc. We use ours mostly for live with only some recording done, but they handle well in many live situations, do well directionally and are not as 'delicate' as some studio mics are.. They do a good job on choirs, quartets and the like...they also make great overhead mics for cymbals/crash/ride/hi hats with that extra 6k & 12k presence peak in the FR. I like mic's that can multi-task. Only thing you have to do is make sure the choir cattle don't knock over the stands. We also have the AT U853's hanging mics...but I barely ever pull them out anymore. I was not as impressed with them in general overall...and they do not have the clarity I would expect.. I personally felt they did not do as well by comparison..


JMO...
-w

 

[hemismith]

Thanks very much, excellent feedback!

 

[hemismith]

So I'm thinking -- I was going to get a couple boundary mics as well, but since they don't work well for picking up people at the very front of the stage, I figured I'd have to put a couple condensers on stands. But I guess if I do that there's no point in using the boundary mics, except they would pick up the rest of the stage better. But I would probably have to ride the faders to avoid cancellation. What do you think I should do?

Also, I see Shure has an SM137 for quite a bit cheaper. Any thoughts on that one?

Thanks.

 

[hemismith]

I ended up picking up a KSM137 and really like it; probably should get another. But they changed the stage layout on me for this one show and I ended up having to use boundary mics (but used the KSM to mic a piano). And sure enough, if the kids didn't project it was really tough to pick them up without feedback. I was on the edge the whole show and it wasn't fun.

 

[jowens]

Does anybody have any experience with the Audio Technica AE5100?

Audio Technica Artist Elite Series

Thinking about using it to complement my AKG C 1000 pair for general auditorium events like choirs, bands, orchestras, soloists, instrumentalists, etc. etc.

FWIW, I've a bunch of hanging mics, sm 58's, I'm looking for "not quite a shotgun" with decent rear rejection, high gain before feedback, etc.
The specs on this look pretty good, thoughts?

All the best
~Joe