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Oooops, meant the SM-57's may be a bit pricey vs the Sennheises! Old head here.

Despite that fact, I sprung for a Hannukah present and picked up 2 new SM57's with accompanying boom stands. My mic armory now consists of the 2 new SM57's, a Samson 3 clip-on mic kit, and a Stageworks UM 7000 I usually mount on a goose necked straight stand for the bongos. Four input TAPCO 100 mixer. I'll be trying out the 57's today to explore their ability to cover my setup. Would like to use them only, but recognize that may not be optimal. So, I've included a sketch of my normal sitdown layout and am open to any suggestion from forum audio pros for live gig mic placement. Thanking you all in advance for your patience and help.

Another consideration.

I'm a newschool conga player. i'm well versed in the "traditions" and know enough (not as much as I would like, but enough to do the job) to know when and how to play things really basic and "old school". To that end, the congas have a role to play in those situations: fill in the mid to low range of a Latin music ensemble. If you're performing in an old-school ensemble (playing sones...danzones, afro 6/8 stuff, folkloric music, etc.), it might just be enough that all that is heard is "Pack...Dum Dum...Pack, Dum, Dum" or whatever sound is made by the open tones of a particular pattern.

However, as a new school conga player that often incorporates Mano Secreta techniques, rudimental applications to 3-4 congas, etc., I find that most non-conga sound men (and even, I have to say, old school congueros...not well versed with the newer techniques and how to equalize them) are unable to provide me with the required "trebleness" to have faster baqueteo work and rudimental applications come out. I've played gigs where I realize quickly that, although the congas are loud, they're not equalized properly, giving too much bass resonance and too little trebleness, especially on the Quinto (where I do most of my faster work).

By having my own Behringer Setup (I have a 15" woofer Eurolive with a Behringer 6 channel mixer), I can equalize the sound for my modern and demanding percussion tactics...and that's a sound consideration I'm not willing to risk at the hands of musicians and non-musicians. Not everyone is actively studying the techniques of Giovanni hidalgo, Anga, Changuito, Richie Flores, Tito De Gracia, etc....in fact, I'd say the majority of Latin musicians I encounter harkon back to the "old days" to a disproportionate degree. Because they can't understand the useful and tasteful application of speed, complex rudimental structures, patterns, etc. to conga playing, they most always simply the issue by commanding: "uggh.....I don't know...just afinca and it will sound good!". That's an easy way to avoid dealing with the real issue: congas need to be miked with the performance in mind. Am I playing in a pseudo-Yoruba Bata-involved group? Give me more earthy tones...am I playing in a straight salsa group? Give me 2 congas, some deepness in the Tumba and a mid-range sound on the Quinto, with a slight hint of treble (for slap accentuation). Am I playing in a Latin-jazz quintet or sextet...Giovanni hidalgo style. Give me 4 congas, tuned higher than usual salsa setup, and accentuate both the deepness of the Tumba range congas and give so much treble on the Quinto, that if I just RUB the conga, you can hear the whisper of my hand passing on it....and so on.

As a new school younger percussionist, that's the most often (and irritating) battle I have with musicians who...quite frankly...coast on what they learned 20 years ago when they were young. no offense to the older musicians here who actively keep current on techniques, music styles, and regular practice routines.