I know I have brought this question up before, but here we go again.
For those of you who play in an electric band, how do you mike your accordion?
Specifically, what model and brand of mike do you use?
What is the best way to attach this microphone to the accordion so that it may be detached in order to case the accordion?
Where is the best position for the mike?

Also,specifically, what is a good amplifier/monitor for an accordion that will tie into an existing main control board?
I have been allowed to play a couple of numbers within the last two weeks with a existing C&W band that wants to add some Cajun music to their dance music routine.
I tried using a mike on a stand, but I move around too much and lose the sound. In fact, at times I could not here myself. Playing sitting down is not an option with this band.
The dancers could hear me, and I got compliments after the numbers, but I was just guessing at what the sound was. When everybody else is amplified, It's amazing how loud the bass and drum are.
The band leader told me that he wants to continue to use me,because the dance crowd likes some Cajun thrown in, but I need to get wired.
Help!
JB

I am shoping for a microphone myself. I plan to buy a samson airline 77 with the hm 40. it is a wireless gooseneck that clips on to the gooseneck block or i've seen it cliped on the straps that hold the bellows closed. Damon Troy and a few others use this mike and it sounds very good. They sell for about $399

Thanks, Brian

Yep, I believe a clip-on goose-neck of some manufacture is the way to go, be it Shure, Samson, or whatever.
Anybody else have any ideas?
JB

The "clip on" mics by Samson or Shure are what most "professional" players are using. They range from $400 - $600 for the wireless versions. The other option is the Shure R-65 cartridge mounted to an aluminum or plastic plate that mounts to the outside of the instrument. This same cartridge is used as an internal mic. The cost is about $175.
Jude Moreau

I used an Audio-Technica wireless gooseneck for a few years with great success. It was a couple hundred bucks -- well worth it -- if that's the sound you're after. Most all Cajun players dig the clean, external sound.

After Jr. installed his version of an internal mic in my Falcon 4-stop, I never thought outside the box again.

R!CK

Thanks, guys. That is the type of info that I needed.
If ya'll have the time, please review the above e-bay link above and let me know what you think these mics are all about. Thanks again.
JB

Those Microvox mics are made for accordions which have an outer grill - I don't think they won't work on a Cajun box.

I have one that I bought for my triple row a few years ago. It sounds good, but it is somewhat more prone to feedback problems than an internal mic would be.

-David

David's right, they are prone to feedback. Those things have actual microphones in them, mounted on the grill above the flappers. No where to mount it on a cajun box without getting more clack clack than notes.
Steve

I also use a Audio Technica ATM35.
Dirk Powell recomended that mike.
I'm very glad with the sound.
I know somebody that use two Microvox.
One on the ten button side and one on the bass side.
It sounds good and the bass is allways good to hear.
But is that only for the traditional way ?????

Speaking of more clack than notes, did anyone else notice Keith Frank's new CD (Undisputed) has very noticeable flapper noise on many tracks that feature the single-row accordion?

I've heard the flapper that Russ speaks of. I think it is a quality that Keith likes -- judging how very picky he is at sound checks. Recently, when my band opened for him, he spent a solid 40 minutes with the sound man at the board. He's meticulous and strict; so I can only imagine him in the chair at Soulwood.

The acoutic(ness) of the flapper noise is, to me, part of the enjoyment of the Cajun box. It can be dampened, but not eliminated. I love to hear it (not overly aggressive, mind you) as I think it adds a unique percussive quality, especially in the Creole (internal mic) sound -- and some of my top dawgs know how to apply it to the bone -- Keith, Step, Chris, and B-Jack.

This is probably worthy of a new thread, but does anyone know how Step gets his signature sound? I can hear one pull from his box and know it's him. Such a funky compressed quality. I wrote him last week asking if he'd give me a clue and haven't heard back from him. I know that's a trade secret...

R!CK

I played with him at Buffalo Jambalaya this year and I do believe his internal mic setup on his single rows is the standard R65 Cartridge. I say this because he uses two of them mounted in his triple note Gabb, which incidentially is a "new" model marketed as a Zydeco Accordion. It has six switches on the front which made me think it was a two tone until he explained it to us. He remarked at how people wanted to know how he had that triple miced because it sounded so good. He said it was no secret and Mike Gbbanelli put in the two internal mics in it. He does have a signature sound though. He taught us his lick on "Goin' to Louisiana" and I can't come close to getting in yet.

I would not recommend the R65 cartridge for EXTERNAL micing. You would be better off with a mic with a better frequency response.

When I want that Cajun external mic sound I use a Shure SM48 with a Samson AX1. See picture below.

The SM48 does not requier an impedance matching transformer like the SM85, and it is much cheaper.

The high frequency roll-off is more pleasing to the ear than either the SM58 or a condensor mic IMHO.

DP