AT used to have a lav that came with a little clip to hook it over the edge of a flat-top's soundhole...
that's exactly the one i was thinking of!I liked this one the best BY FAR...Audio-Technica Pro 70
James Taylors "One Man Band" concert is often cited in discussions like this concerning mic's on acoustic guitars in live situations. That and Alison Krauss's recording out in Louisville KY some years back. One Man Band was a really great concert idea and the finished product was typical James Taylor HIGHLY polished but........Saw James Taylor on some "special" show of his not too long ago... say what you will about JT, but he has ALWAYS had an amazing live acoustic guitar sound!
He had some kind of mic on a small gooseneck, clamped up near the area of the body where the neck joins... looked to have some black tape used to anchor the thing on his Olsen... and, as advertised, it sounded HEAVENLY, with only his fingers... I heard no sort of "transferring of playing technique" nonsense whatsoever...
Hey, sorry haven't checked back in for awhile. Did fine for my open back Enoch just wrapping it around the dowel rod. Probably could easily rig something up over the side of the pot but I just never got around to it.that's exactly the one i was thinking of!
how did it do on banjo, and where did you mount it? (i have yet to hear a banjo pickup i really like, and that will get any kind of gain before feedback.)
Thanks for the "inside poop", Joseph! I got sucked in by the magic of the medium, I guess... should've known there was a lot of work and "treatment" on the guitar...James Taylors "One Man Band" concert is often cited in discussions like this concerning mic's on acoustic guitars in live situations. That and Alison Krauss's recording out in Louisville KY some years back. One Man Band was a really great concert idea and the finished product was typical James Taylor HIGHLY polished but........
PRE-production for this show took months. I don't know the time frame for POST-production but since I make my living in post production I'm gonna guess at least 6 months. The physical PRE-production for the live sound alone took the better part of a week. The venue was as near perfect as one can get for acoustic instruments. The crowd (and their inevitable noise floor that goes with crowds) was not only controllable but highly coached. They of course had the luxury of re-takes and do-overs for all sorts of gremlins that indeed popped up including getting levels on the mic correct before it turned into feedback. I don't recall specifically but I believe they shot over the course of several days. That not to mention on the guitar side there is CLEARLY still a large presence of piezo. The guitar signal (piezo/mic) was split to the recording medium so that not only did they have a chance to re-eq during post production but they also were afforded the ability to split the piezo to a modeler...in this case I believe it was some sort of Fishman.
In the end it's a great DVD concert that allowed James Taylor to not only play great music but also have some extended "chat's" with his audience and in short......simply be James Taylor. It's a really enjoyable experience and highlights James Taylor's place in contemporary music. Worth checking out if anyone has yet to have a chance.
However a good example of a good mic'd guitar sound in a live environment it is definitively not. Highly produced both in pre and post production. Mic'ing an acoustic guitar in a live environment is still sadly one of THE most challenging endeavors in all of live entertainment and this pristine example sheds little light on the "real" world....... unless of course you're James.