Audio technica AT892c-TH

[JakeCTG]

Hi guys.

 

We have a few of these Audio technica AT892c-TH at my church and have been using them for the drama with not much sucess.

 

We have problems with them distorting even with the shure radio packs at -20db and it is a strugle to use them and get a decent sound without feedback.

 

The question is what else is there out there that we would use instead that is better?

 

I have looked at the Audix stuff and it seems to be quite good and have seen these mics.

 

http://www.audixusa.com/Acrobat/RAD_ADS_4_Manual_Web.pdf

 

Any advice or comments would be much appreciated.

 

Also If anyone knows what mics they were using for the any dream will do it would be usefull to know.

 

Thanks

 

Jake

[boswell]

That link is for Aerial distribution units :)

[mal421]

The AT892c is omnidirectional , maybe this is part of the problem .

[Shez]

The AT892c is omnidirectional , maybe this is part of the problem .

 

Almost all lav / headset mics are omni.

 

I read a review of that AT mic in audio media a little while ago; seem to recall it was very favourable. I would bet that the problem lies either with placement/dispersion patterns of speakers or with the acoustics of the venue.

 

Re: the distortion. I've had problems with Thomann headsets with EW300 G2 radio packs - the mics are just too sensitive for that particular pack. Some manufacturers make mics in several versions with different sensitivities for exactly this reason.

[JakeCTG]

Hear is the link I ment to post http://www.audixusa.com/Acrobat/RAD_360_spec_sheet.pdf

 

I have used the mics in various venues with different systems and have still had the same problems.

[Bobbsy]

I think the omni issue is a red herring. Omni is a pretty common pattern for lav and headset mics in theatre use.

 

I've not used either these microphones or enough Shure TX pack to give any detailed suggestions, but the part of the original post that really stuck out for me was the you're getting distortion even with the attenuation on the transmitter set to -20dB. This suggests to me that something must be rather badly mismatched between the mic and the transmitter...or badly wrong with one component or the other.

 

From what I've read about the AT mic you currently have, it has a pretty good reputation. Before spending money on a different capsule, it might be worth doing some detective diagnostics...looking at specs to check the match between the items, the wiring in the connector, that sort of thing. I'd also try to borrow some other mics and TX packs and try mixing and matching to see if you can find a possible cause.

 

Sorry to be so vague, but I hate to see potentially good mics replaced without a fight!

 

Edited to add: We crossed our posts there but I've had a quick at the Audix link you provided. Audix microphones are great favourites of mine but they're less well known for RF products, particularly outside the USA. It's worth noting that the unit in the link you posted only operates in the 638-806 MHz range which might be difficult and certainly expensive to licence in the UK...certainly you're a long way from licence-free bandwidth. I'd also worry about the lack of an effective support network this side of the Atlantic.

 

If it was me, I'd still try to fix what you have first.

 

Bob

[mal421]

The AT892c is omnidirectional , maybe this is part of the problem .

 

Almost all lav / headset mics are omni.

 

 

The AT892c is an omni headset mic . The AT829 is a cardioid lav according to the Audio Technica retail catalogue .

[Shez]

The AT829 is a cardioid lav according to the Audio Technica retail catalogue .

How many omni lavs would you like me to list? :)

 

 

Moderation: To stop a potential squabble before it starts, most major manufacturers of headset mics offer a choice of omni, cardioid (and sometimes hypercardioid) patterns. Each has advantages and disadvantages and the choice depends on the situation. At the risk of over-generalisation, omni is usually the choice in theatre applications while more directional mics tend to find their way into higher-SPL concert gigs. In this case, the OP is clear that he has the omni version of his microphone and is looking for a solution to a problem that includes overloading the TX pack. Back on topic please!