i recently purchased a pair of schoeps cmc64s for classical work both remote
and in studio. the mk4 capsules are offered as "general use", but they are
configured to be flat in the diffuse field (distant micing), and thus they
have a fairly pronounced proximity effect when close-micing inthe studio. i
got some quite boomy tracks from a pedal harp using an NOS setup about 3
feet out from the front of the harp which is requiring an enormous amount of
low end cut to get balanced. i checked with redding audio, and the cut
filters from schoeps are $415 each, which is cost prohibitive for me now.
what is the best method for me to address the proximity issues with these
mics in the studio? thanks.

Other than continuing with EQ, you may want to experiment with mic
placement and experiment to find the spot where the balance is what
you desire.

A more radical approach may be to trade the MK4's for MK2's. The MK2's
make a great classical recording pair in concert halls and have no
proximity effect in the studio. MK5's would basically give you similar
options with switchable patterns.

Mike

(jnorman) wrote in message om...
i recently purchased a pair of schoeps cmc64s for classical work both remote
and in studio. the mk4 capsules are offered as "general use", but they are
configured to be flat in the diffuse field (distant micing), and thus they
have a fairly pronounced proximity effect when close-micing inthe studio. i
got some quite boomy tracks from a pedal harp using an NOS setup about 3
feet out from the front of the harp which is requiring an enormous amount of
low end cut to get balanced. i checked with redding audio, and the cut
filters from schoeps are $415 each, which is cost prohibitive for me now.
what is the best method for me to address the proximity issues with these
mics in the studio? thanks.

"jnorman" wrote in message
m

i recently purchased a pair of schoeps cmc64s for classical work both
remote and in studio. the mk4 capsules are offered as "general use",
but they are configured to be flat in the diffuse field (distant
micing), and thus they have a fairly pronounced proximity effect when
close-micing inthe studio. i got some quite boomy tracks from a
pedal harp using an NOS setup about 3 feet out from the front of the
harp which is requiring an enormous amount of low end cut to get
balanced. i checked with redding audio, and the cut filters from
schoeps are $415 each, which is cost prohibitive for me now. what is
the best method for me to address the proximity issues with these
mics in the studio? thanks.

To bad your DAW software doesn't have filters that let you deal with
situations like this. In CoolEdit Pro, this would be a 5 minute or less job,
depending on how good your ears are.

In Article ,
(jnorman) wrote:
i recently purchased a pair of schoeps cmc64s for classical work both remote
and in studio. the mk4 capsules are offered as "general use", but they are
configured to be flat in the diffuse field (distant micing), and thus they
have a fairly pronounced proximity effect when close-micing inthe studio. i
got some quite boomy tracks from a pedal harp using an NOS setup about 3
feet out from the front of the harp which is requiring an enormous amount of
low end cut to get balanced. i checked with redding audio, and the cut
filters from schoeps are $415 each, which is cost prohibitive for me now.
what is the best method for me to address the proximity issues with these
mics in the studio? thanks.

John,

That sounds pretty weird. The MK41 hypers should have even more proximity
effect than the Mk4. I don't get that sort of low end up here with my Mk41.

That harp must have one heck of a low end wave. In what sort of space was
it...hint hint....room modes...hint hint.

Regards,

Ty Ford



For Ty Ford V/O demos, audio services and equipment reviews,
click on http://www.jagunet.com/~tford

(jnorman) wrote in
m:

i recently purchased a pair of schoeps cmc64s for classical work both
remote and in studio. the mk4 capsules are offered as "general use",
but they are configured to be flat in the diffuse field (distant
micing), and thus they have a fairly pronounced proximity effect when
close-micing inthe studio. i got some quite boomy tracks from a pedal
harp using an NOS setup about 3 feet out from the front of the harp
which is requiring an enormous amount of low end cut to get balanced.
i checked with redding audio, and the cut filters from schoeps are
$415 each, which is cost prohibitive for me now. what is the best
method for me to address the proximity issues with these mics in the
studio? thanks.

You shouldn't be getting proximity effect at three feet. I'm not saying
you're not getting lots of bass, just that it isn't caused by proximity
effect (which works much closer to the source).

Likely causes: mic placement, boomy harp, room effects

Put your ear where the mic is. You'll hear the same boominess. If you
didn't notice it while recording, try putting the microphones where you
were standing.

i recently purchased a pair of schoeps cmc64s for classical work both remote
and in studio. the mk4 capsules are offered as "general use", but they
are
configured to be flat in the diffuse field (distant micing), and thus they
have a fairly pronounced proximity effect when close-micing inthe studio.
i
got some quite boomy tracks from a pedal harp using an NOS setup about 3
feet out from the front of the harp which is requiring an enormous amount
of
low end cut to get balanced. i checked with redding audio, and the cut
filters from schoeps are $415 each, which is cost prohibitive for me now.
what is the best method for me to address the proximity issues with these
mics in the studio? thanks.



You don't get proximity effect at three feet.

Your placement is wrong.

It is either the room or the instrument.

If you really want to cut Low frequency out of the MK4's, get a couple of the
Cut2 adjustable LF rolloffs.

I don't ned them on my 41's, but I use them a lot on myt omnis.

Richard H. Kuschel
"I canna change the law of physics."-----Scotty