The LCT 240 it turns out was an inspired, if forced, shift in thinking. Mostly forced as it turns out, I cannot brag about my clear thinking.
I had an idea to build up a kit of mics so that a band could be filmed, all with my supplied kit.
This was of course a thin premise, because said band would either have their own mics, have a sound tech who could simply supply me with all their sound or what I have to offer could still fall short even at 9 (!) microphones.
What am I really likely to need?
Record individuals, non musical events, interviews, debates etc, but mostly record spaces.
This changes everything. Instead of a clutch of dynamic mics aimed at individual cover, I need to look more at tried and true methods of recording events with minimum mics.
The second MTP 440, aimed at adding another amp/piano/drum kit/vocal generalist, was just another of the mic types I am less likely to need. I am not the roadie I like to think I am. I am the fly on the wall record keeper. When it was cancelled, I realised, the dynamic only thinking was unnecessary after the H8 was ordered.
I am happy to have some dynamic stage mics, five as it goes, each with their role, but no more. My thinking was flawed, but mostly by mistake the worst of it has been averted.
He is part of something bigger, so not my concern. The bigger event is, but running my own massive system along side what is there is unfeasible. Simple but effective is the key.
Ironically, the H5 and EXH-6 capsule forced me down the dynamic mic road, which led to the H8. If I had bought the H8 at the beginning of this journey would have allowed me to stick with condensers, but until my collection grew, the H8 was not on the radar.
As my understanding grew, I slowly realised the potential of what I originally owned and the best path to take, which was likely the pair of LCT 240’s as an option to the 040 matched pair!
These are the mics that will record large areas and allow me to work to my common needs, and independently of others. This is how I will most often be working.
Thankfully, the dearest mics are the most useful.
A school concert already fully setup with a tried and true broadcast system?
Sure thing, because I will have my little OTRF, spaced A/B or X/Y pair in there as well.
School rock band doing a quick gig?
A 240, maybe two will cover the room, with the odd placed mic if needed and able. The school rock challenge is coming and as expected, they are fully sorted for sound, but for my video I will cover the room with the LCT 240.
This adds to the odd student interview, a panel, maybe a podcast? That is where the dynamics come in. Sometimes I might just be the guy with the handy mic that saves the day. White Knight syndrome much!
No real harm if I had bought the second 440, I just would have used it instead of the 340tt, but the forced re-think, more towards the H8’s expanded capabilities, really was a blessing and it all happened in a blurred half hour the other day (bought the H8 on impulse, got a back order notice minutes later on the MTP 440, bought the LCT 240).
The H6 was more of an either-or thing back when I got the H5 and was too expensive and over the top for my needs then. Buying it now would have been a retrospective move, because for very little more (about $50au), the H8 adds considerably more capability with better pre-amps, more phantom power connections and significantly better interface. having a H5 and H6 would not have provided a logical balance. The H5/H8 dynamic makes more sense.
If (but not likely), I were to get another mic at this stage, it would be the LCT 441 flex, which is possibly the one mic I should have bought. The omni and figure eight polar patterns adding options, but I also know that between the several options I now own, these patterns are possible anyway, at least to the standard I need.
Sometimes when you bury yourself in a new field the answer comes too late to avoid missed-steps, but occasionally you can get lucky anyway.
*My perfect budget “get it done” kit on reflection is almost what I have now;
2x LCT 240 (area cover or acoustic/vocal)
2x 040 Match (area cover, overhead, acoustic)
1x MTP 440 (deeper instruments)
1x DTP 340 (deeper again). sE V7x here (useful proximity effect) and second 440.
1x MTP 550 (primary “hand-held” dynamic mic). sE V7 here.
1x MTP 250 (vocal dynamic, handy second option). sE V3 here.
Surplus. The TT1.