Crown Audio by Harman

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Will a PCC-170 work for stage-floor use?

I do a lot of recording of opera and other musical events at venues that typically have PCC-160s of their own on the stage (I use my own mics in the pit). However, I occasionally get called in to venues without floor mics, and hope to pick up some boundary mics for this use. There seem to be a lot of used PCC-170s around at better prices than used PCC-160s. Specifications seem to be the same. Can you comment on relative performance of the PCC-170 and PCC-170SW for this application?
Barry, Ullanta MusicWorks

Can you use the Crown PCC 170SW to record orchestra and opera concerts? I need to put something small on front edge of stage to pick up singers and reject pit orchestra, but need enough sensitivity to get voices when they are 20 feet or more from the mics (large stage).
Michael Garrett

Reply: Compared to the PCC-160, the PCC-170 and PCC-170SW have a flatter high-frequency response, which probably is desirable for recording opera. Current drain in the PCC-160 and PCC-170 is 4 mA, and in the PCC-170SW is 6 mA. Otherwise the specs are the same. The PCC-170's wire-mesh grille (designed for conference table use) is more fragile than the PCC-160's all-steel grille, so be sure to warn the actors not to step on the mics.

The PCC-170 or PCC-170SW should work well in that application. It has a mostly flat frequency response , very good rear rejection, and very high sensitivity. Its signal-to-noise ratio is 72 dB when the sound source is produces 94 dB SPL (loud singing), or 52 dB when the source produces 74 dB SPL (regular talking). 
 
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