REMIC

THE FINEST MICROPHONES FOR CLASSICAL INSTRUMENTS

I WILL NOT BE CAUGHT ON A STAGE WITHOUT IT..!


“I have tried the heck out of every option to get good sound into a sound system for live performances. As you know, condenser mikes are the best, but they are a feedback nightmare on stage. I have tried virtually every one of them known to man, from Baggs to DPA to G and Fills, etc.
I finally found one that beats them all. Remic V5200LB. It is nothing short of incredible. No feedback, and tiny.
I now play in a folk band, and based upon my experience with this mike I would not be caught on a stage without it.

I played last Wednesday night with the Remic V5200LB, and it was awesome. The woody sound of my violin filled the room over our two Bose L1 Model II sound system. We recorded it on our mixer, and it also sounded good. In fact, it is incredibly good. I just went straight into the mixer and added only a minor amount of reverb. I did not say anything about it to the other band members, and all of them noticed the sound.

Last night I recorded my fiddle track on two songs our group is recording. I used my V5200. It sounded terrific. We compared it to using a large condenser mike, and decided that the V5200 was better for me. One reason was that I like to move around a lot when I play, but also the V5200 provided great sound.”

Frank Willis, American fiddler

NC-based bassist David George, a multi-instrumentalist

The D5400’s noted feedback suppression is more than a noted feature, it’s a fact, offered George. “The complete lack of feedback surprised me,” he said. “When I switched over to an electric bass guitar for a few songs, our soundman neglected to mute the D5400.
This would not usually be a problem; however, to avoid bleed into our vocal mics, I aimed the front of my Gallien-Krueger MB110 at a right angle to the stage. When I sat my upright bass down, the speaker was aimed about a foot or so away, center-line, at the back of my upright bass. It was several songs later before I realized I had done this, but the D5400 did not feedback once during the remainder of the performance! That’s amazing. Had it been my clip-on condenser or a pickup, I’m sure I would have generated a low-end feedback loop that would have sent this bluegrass audience into a panic!”

ALL ABOUT THAT CELLO!

“My usual setup when micing my cello was a contact mic in combination with a small clip-on condenser microphone. – but I never got truly satisfied with the sound response. Today I tried out the REMIC C5300LB, which was an entirely new experience.
The stage monitor sound is much better than what I’m used to and even without the stage monitor, the sound of my cello comes out crystal clear from the PA.
Any dynamic changes I make on my instrument is captured by the REMIC and reproduced by the PA – this is so cool. Now it finally sounds like my cello.
After that very first experience with the REMIC, I packed away my contact mic and the small clip-on mic. From now on, I’m using only the REMIC – it’s all about that cello.”

Katrine Schiøtt, Norwegian cellist.