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#1
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Stereo condenser mic for studio and field
Hi
Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? Sune |
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#2
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Sune T. B. Nielsen wrote: Are there other mics with those specifications in this prize range that I ought to consider? You might consider a set of our CS Binaural microphones. They'll easily handle the sound pressure levels, are very small and easy to mount, and sound fine. -- Len Moskowitz PDAudio, Binaural Mics, Cables, DPA, M-Audio Core Sound http://www.stealthmicrophones.com Teaneck, New Jersey USA http://www.core-sound.com Tel: 201-801-0812, FAX: 201-801-0912 |
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#3
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Sune T. B. Nielsen wrote: Are there other mics with those specifications in this prize range that I ought to consider? You might consider a set of our CS Binaural microphones. They'll easily handle the sound pressure levels, are very small and easy to mount, and sound fine. -- Len Moskowitz PDAudio, Binaural Mics, Cables, DPA, M-Audio Core Sound http://www.stealthmicrophones.com Teaneck, New Jersey USA http://www.core-sound.com Tel: 201-801-0812, FAX: 201-801-0912 |
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#4
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"Sune T. B. Nielsen" wrote in message ... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? The proper microphone for you is the Rode NT4. Accept no substitutes. Norm Strong |
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#5
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"Sune T. B. Nielsen" wrote in message ... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? The proper microphone for you is the Rode NT4. Accept no substitutes. Norm Strong |
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#6
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"Sune T. B. Nielsen" wrote in message
... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? I have built-in mic-preamp with balanced XLR 48v Phantom power inputs on my studio sound card. And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? Does this fit the battery powered condenser mic? So it should be able go into two XLR or mini-jack. Is that possible? A portable mic preamp is an option i cant afford that right now. I thought of maybe buying two mono mics that also have the battery option and tie them together when in the field. More flexible in the studio and maybe cheaper. But do they exist? |
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#7
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"Sune T. B. Nielsen" wrote in message
... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? I have built-in mic-preamp with balanced XLR 48v Phantom power inputs on my studio sound card. And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? Does this fit the battery powered condenser mic? So it should be able go into two XLR or mini-jack. Is that possible? A portable mic preamp is an option i cant afford that right now. I thought of maybe buying two mono mics that also have the battery option and tie them together when in the field. More flexible in the studio and maybe cheaper. But do they exist? |
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#8
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Sune T. B. Nielsen wrote: And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? No, it has a Line level input and no mic power options (not 48 VDC Phantom nor "Plug-in Power"), -- Len Moskowitz PDAudio, Binaural Mics, Cables, DPA, M-Audio Core Sound http://www.stealthmicrophones.com Teaneck, New Jersey USA http://www.core-sound.com Tel: 201-801-0812, FAX: 201-801-0912 |
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#9
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Sune T. B. Nielsen wrote: And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? No, it has a Line level input and no mic power options (not 48 VDC Phantom nor "Plug-in Power"), -- Len Moskowitz PDAudio, Binaural Mics, Cables, DPA, M-Audio Core Sound http://www.stealthmicrophones.com Teaneck, New Jersey USA http://www.core-sound.com Tel: 201-801-0812, FAX: 201-801-0912 |
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#10
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"Sune T. B. Nielsen" wrote in message
And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? Nomad Jukeboxes don't even have a proper mic inputs without phantom power. They've got digital and line-level inputs. I use mine with a Behringer MXB 1002 which does have mic inputs and phantom power. Not very good for bootlegs, but fine for legitimate location recording. |
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#11
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"Sune T. B. Nielsen" wrote in message
And plan to buy a Nomad Jukebox for field rec. Those recorders have some sort of 'phantom power', right? Nomad Jukeboxes don't even have a proper mic inputs without phantom power. They've got digital and line-level inputs. I use mine with a Behringer MXB 1002 which does have mic inputs and phantom power. Not very good for bootlegs, but fine for legitimate location recording. |
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#12
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#13
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#14
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"Sune T. B. Nielsen" wrote in message ... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? Sune I have been using a Neumann RSM190, housed in Rycote Windjammer for many years now for field recording into both Betacam for TV work and DAT recorder for film. It has the advantage of being switchable M/S or X/Y, the former giving post production the option of using the centre channel for mono, or matrixing both channels to stereo. For film work, I feed it directly to DAT (FostexPD-4) as this has 48 volt phantom powering and a three channel mixer. The only down side was the price, but it has given great service in all kinds of adverse weather conditions. Snow, rain, wind etc. There have been occasions when I needed to find a lavatory, just to use the hand dryer to dry the whole thing out. So it was a good investment and comes highly recommended. Peter |
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#15
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"Sune T. B. Nielsen" wrote in message ... Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? Sune I have been using a Neumann RSM190, housed in Rycote Windjammer for many years now for field recording into both Betacam for TV work and DAT recorder for film. It has the advantage of being switchable M/S or X/Y, the former giving post production the option of using the centre channel for mono, or matrixing both channels to stereo. For film work, I feed it directly to DAT (FostexPD-4) as this has 48 volt phantom powering and a three channel mixer. The only down side was the price, but it has given great service in all kinds of adverse weather conditions. Snow, rain, wind etc. There have been occasions when I needed to find a lavatory, just to use the hand dryer to dry the whole thing out. So it was a good investment and comes highly recommended. Peter |
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#16
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"Sune T. B. Nielsen"
Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? The Sony ECM-MS5 is pretty decent Stereo Mic that is often used for stereo location recordings on a camera/Suitable for "taping", if by portable you mean those kind of applications. Costs a bit more used. It has a built in MS decoder so you get a regular stereo pair out. Not battery powered without the battery to phantom power matching unit Sony also makes though, location/movie sound guys often use the ECM-MS5 or the Shure VM88 which is a bit noisier, it's considered "Pro Gear". Will Miho NY Music & TV Audio Guy Audioist / Fox News "The large print giveth and the small print taketh away..." Tom Waits |
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#17
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"Sune T. B. Nielsen"
Hi Im looking for a stereo condeser mic for overhead recordings in my home studio (mostly electronical stuff, small room, sometimes fairly loud). Im very fond of the RødeNT4 http://www.rodemicrophones.com/specsnt4/nt4specs.htm because it is portable too. Are there other mics with those specifications in this prize range that I ought to consider? The Sony ECM-MS5 is pretty decent Stereo Mic that is often used for stereo location recordings on a camera/Suitable for "taping", if by portable you mean those kind of applications. Costs a bit more used. It has a built in MS decoder so you get a regular stereo pair out. Not battery powered without the battery to phantom power matching unit Sony also makes though, location/movie sound guys often use the ECM-MS5 or the Shure VM88 which is a bit noisier, it's considered "Pro Gear". Will Miho NY Music & TV Audio Guy Audioist / Fox News "The large print giveth and the small print taketh away..." Tom Waits |
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#18
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Thanks alot. I hope you will understand, but now that i have given it some thought (and talk) and i think im going to spend a bit more and go for a matched pair of Oktava 012 with 2 or 3 capsules Sune |
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#19
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Thanks alot. I hope you will understand, but now that i have given it some thought (and talk) and i think im going to spend a bit more and go for a matched pair of Oktava 012 with 2 or 3 capsules Sune |
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#20
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Thanks alot.
I hope you will understand, but now that i have given it some thought (and talk) and i think im going to spend a bit more and go for a matched pair of Oktava 012 with 2 or 3 capsules Best spend a bit less and get a pair of Rode NT5's. The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. Without SR you should use a spaced pair, I prefer ORTF. Oktava has had a bad QC record, no telling how an after-market matched pair will hold up, when NT5's are factory matched, very rugged, with great support after sale, and half the cost of a matched MC012 set. |
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#21
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Thanks alot.
I hope you will understand, but now that i have given it some thought (and talk) and i think im going to spend a bit more and go for a matched pair of Oktava 012 with 2 or 3 capsules Best spend a bit less and get a pair of Rode NT5's. The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. Without SR you should use a spaced pair, I prefer ORTF. Oktava has had a bad QC record, no telling how an after-market matched pair will hold up, when NT5's are factory matched, very rugged, with great support after sale, and half the cost of a matched MC012 set. |
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#22
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Sugarite wrote: The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. On the contrary, it is good for any coincident XY coincident stereo application which is one of the most foolproof of the stereo configurations. Its 16 dBA SPL self noise is quite good for a small condenser and is the same as the NT5. It mixes very well to mono without phase issues and can be width adjusted in the same fashion as MS. If, OTHO, it is your wish to try any of the various cardiod based stereo configurations then a pair of NT5's might be more appropriate. None of the others will give a predictable mono mix, however, if that is a requirement. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#23
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Sugarite wrote: The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. On the contrary, it is good for any coincident XY coincident stereo application which is one of the most foolproof of the stereo configurations. Its 16 dBA SPL self noise is quite good for a small condenser and is the same as the NT5. It mixes very well to mono without phase issues and can be width adjusted in the same fashion as MS. If, OTHO, it is your wish to try any of the various cardiod based stereo configurations then a pair of NT5's might be more appropriate. None of the others will give a predictable mono mix, however, if that is a requirement. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#24
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"Bob Cain" wrote in message ... Sugarite wrote: The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. On the contrary, it is good for any coincident XY coincident stereo application which is one of the most foolproof of the stereo configurations. Its 16 dBA SPL self noise is quite good for a small condenser and is the same as the NT5. It mixes very well to mono without phase issues and can be width adjusted in the same fashion as MS. If, OTHO, it is your wish to try any of the various cardiod based stereo configurations then a pair of NT5's might be more appropriate. None of the others will give a predictable mono mix, however, if that is a requirement. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? |
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#25
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"Bob Cain" wrote in message ... Sugarite wrote: The NT4 is only appropriate if you're recording environments with sound reinforcement, and then only if you really know what you're doing. On the contrary, it is good for any coincident XY coincident stereo application which is one of the most foolproof of the stereo configurations. Its 16 dBA SPL self noise is quite good for a small condenser and is the same as the NT5. It mixes very well to mono without phase issues and can be width adjusted in the same fashion as MS. If, OTHO, it is your wish to try any of the various cardiod based stereo configurations then a pair of NT5's might be more appropriate. None of the others will give a predictable mono mix, however, if that is a requirement. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? |
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#26
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Sune T. B. Nielsen wrote: It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? From the L and R channels of your XY recording, simply form M = (L + R)/2 S = (L - R)/2 You can then recombine those to widen or narrow the image by forming L = M + k*S R = M - k*S If the multiplier k is greater than one, the image will get wider and if less than one, it will get narrower. The gist is that you treat the XY recording exactly as if it had been made MS and matrixed to LR. The math of the two configurations is equivalent. There are plugins which will do this as well as panning for you graphically, Waves' product is called "Stereo Imager" I believe. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#27
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Sune T. B. Nielsen wrote: It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? From the L and R channels of your XY recording, simply form M = (L + R)/2 S = (L - R)/2 You can then recombine those to widen or narrow the image by forming L = M + k*S R = M - k*S If the multiplier k is greater than one, the image will get wider and if less than one, it will get narrower. The gist is that you treat the XY recording exactly as if it had been made MS and matrixed to LR. The math of the two configurations is equivalent. There are plugins which will do this as well as panning for you graphically, Waves' product is called "Stereo Imager" I believe. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#28
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"Bob Cain" wrote in message ... Sune T. B. Nielsen wrote: It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? From the L and R channels of your XY recording, simply form M = (L + R)/2 S = (L - R)/2 You can then recombine those to widen or narrow the image by forming L = M + k*S R = M - k*S If the multiplier k is greater than one, the image will get wider and if less than one, it will get narrower. The gist is that you treat the XY recording exactly as if it had been made MS and matrixed to LR. The math of the two configurations is equivalent. There are plugins which will do this as well as panning for you graphically, Waves' product is called "Stereo Imager" I believe. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein How do I divide a track by two? Sune |
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#29
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"Bob Cain" wrote in message ... Sune T. B. Nielsen wrote: It...can be width adjusted in the same fashion as MS. How is that? My concern right now is that i was recommended to go for mics that can do MS, but it seems there is no 8-form capsule for the oktavas. But I can do something like it? From the L and R channels of your XY recording, simply form M = (L + R)/2 S = (L - R)/2 You can then recombine those to widen or narrow the image by forming L = M + k*S R = M - k*S If the multiplier k is greater than one, the image will get wider and if less than one, it will get narrower. The gist is that you treat the XY recording exactly as if it had been made MS and matrixed to LR. The math of the two configurations is equivalent. There are plugins which will do this as well as panning for you graphically, Waves' product is called "Stereo Imager" I believe. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein How do I divide a track by two? Sune |
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#30
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Sune T. B. Nielsen wrote:
How do I divide a track by two? Reduce the gain by 6 dB. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#31
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Sune T. B. Nielsen wrote:
How do I divide a track by two? Reduce the gain by 6 dB. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#32
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On 20 Nov 2004 15:55:21 -0500, (Scott Dorsey) wrote:
Sune T. B. Nielsen wrote: How do I divide a track by two? Reduce the gain by 6 dB. .. . .if you are talking about power. 10 dB if you are talking perceived loudness, no? Willie K. Yee, M.D. http://users.bestweb.net/~wkyee Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org |
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#33
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On 20 Nov 2004 15:55:21 -0500, (Scott Dorsey) wrote:
Sune T. B. Nielsen wrote: How do I divide a track by two? Reduce the gain by 6 dB. .. . .if you are talking about power. 10 dB if you are talking perceived loudness, no? Willie K. Yee, M.D. http://users.bestweb.net/~wkyee Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org |
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#34
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Willie K.Yee, M.D. wrote: On 20 Nov 2004 15:55:21 -0500, (Scott Dorsey) wrote: Sune T. B. Nielsen wrote: How do I divide a track by two? Reduce the gain by 6 dB. . . .if you are talking about power. 10 dB if you are talking perceived loudness, no? Always 6 if you are talking algebra. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#35
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Willie K.Yee, M.D. wrote: On 20 Nov 2004 15:55:21 -0500, (Scott Dorsey) wrote: Sune T. B. Nielsen wrote: How do I divide a track by two? Reduce the gain by 6 dB. . . .if you are talking about power. 10 dB if you are talking perceived loudness, no? Always 6 if you are talking algebra. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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