The Portland Cello Project has chosen the REMIC C5300 cello mics for live performance.

The reason is simple – to avoid acoustic feedback from PA and stage monitors and bleed from other instruments, combined with perfection of a natural and accurate sound response.

There has always been a compromise, between a nice “airy” sound and at the same time minimising the bleed of other instruments especally bass and drums, when miking cellos on larger stages.
In many live productions, where high quality hypercardioid condenser microphones is used along with eg piezoelectric pickups to seperate the PA sound and stage monitorsound, there has been a lot of compromising.

First of all, this kind of setup takes up a lot of mixing channels and secondly the on-stage sound of the instrument from the stage monitores is often and mainly represented by the sound of piezoelectric pickups, that doesn´t sound like the instrument at all – and this is a problem when the artist has been practising acoustically, to get the right “feel” – and it then comes out sounding like something else in the stage monitors.

The artist then have to trust the FOH that the “perfect” sound of the istrument (mainly from the high quality hypercardioid condenser microphones) is represented in the PA.

Now with the REMICs it´s not only possible to reduce the onstage channels significantly – by using only one per cello, feeding both PA and stage monitors and this way minimising the stage setup, as well as suppressing other ambient sounds from the soundsource.
This way, you can now work with the same sound source for both PA and stage monitors.

“Remic totally rethinks micing a string instrument. Unbelievable combination of clarity and isolation from the rest of the stage sounds.”
– Justin Andrew, FOH: The Portland Cello Project.

And Douglas Jenkins, Artist, Artistic Direction and Management of The Portland Cello Project continues, “the thing I like best about REMICs is that they are one less barrier between us and the audience”.

REMIC MICROPHONES has a soild focus on artists and instruments and from there we design the microphone tools individually for the specific instrument groups with different acoustic environments in mind…

All products of REMIC MICROPHONES has been finally designed by detailed data collected of numerous field-tests, at live and studio environments and are not based on data from soundproofed rooms (anechoic chamber) where concerts and recordings never takes place anyway.

The reason for this is actually mind blowing simple…the acoustics of a microphone or an instrument, doesn’t act the same way, in a live- vs a studio- situation as it would in an anechoic chamber.

All this has been a part of the pioneering work of REMIC MICROPHONES since 1996, along with a close cooperation with artists and instrument builders around the world.

The Portland Cello Project (or, PCP, as their fans affectionately call them),
has wowed audiences all over the US with extravagant performances, everywhere from Prairie Home Companion, to that punk rock club in the part of town your grandma warns you not to go to after dark. The group has built a reputation mixing genres and blurring musical lines and perceptions wherever they go.
The thing about The PCP is that they play anything from Kanye to Bach.

No two shows are alike, with a repertoire now numbering over 800 pieces of music you wouldn’t normally hear coming out of a cello.
The Cello Project’s stage setup ranges from the very simple (4-6 cellos), to the all out epic (which has included 12 cellos playing with full choirs, winds, horns, and numerous percussion players).

We are very proud to be a part of this project – supplying our microphone tools to an art-group where multiple musical genres are represented and this way truly shows the fully potential of REMIC MICROPHONES.

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technology – which REMIC states allows the sound of an instrument to be “partly captured immediately after the first air molecules are set in motion by the soundboard of the instrument” and partly “in a limited and strongly controlled nearfield, which captures the overtone register of the instrument” – the aim is of course, to eliminate pollution from unwanted sources of sound, like reflections from the venue, PA system, stage monitors and other instruments.the best microphone for violin, the best microphone for cello, the best microphone for double bass, upright bass, how to choose the right microphone,the best microphone for live performance, the best mic for live performance, the mic that doesn’t feed, anti feedback mic, anti feedback microphone.