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Nate Najar Nate Najar is offline
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Default Moving coil microphone frequency response

What factors determine the frequency response of a moving col microphone?

One thing I've noticed is that, concerning my re15's and 20' (some of my favorite mics!), the plots for them look very similar except that the re20 extends further down and up. So how come, if I want to make them sound similar, I have to cut about 4-6 db at 1000 cycles on the re15? They sound eerily similar when I do that, but that seems like a drastic EQ for a mic that was purported to be flat through that range....

I wish they had made the re29 the size of the 15 instead of the size of a u67!

This is just a curiosity question..... Thanks!

N
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PStamler PStamler is offline
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Default Moving coil microphone frequency response

Nate:

How old is your RE15? They do change with age.

Peace,
Paul
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Nate Najar Nate Najar is offline
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Default Moving coil microphone frequency response

I had considered that and I imagine they're pretty old , but I have 3 (from different places) and they all sound exactly the same. Exactly. They have good bottom and a smooth top. But I nearly consistently need to pull out 1k on them in places where I can I leave the re20 totally flat. The 20 (which I bought new about 12 years ago) sounds very scooped in comparison.

The re15 is so easy to place with the variable d and it manages spill so well. I know Scott's always saying "don't be afraid to use EQ" and I know he's right, and of course I use whatever is necessary, but I'm trying to get my mic choices and placements where I have to use as little as possible. I had a session in here the other day with a singer and I used the re15 on the bass, which is what got me thinking about this, so I was curious and thought to ask. Often omnis aren't the right mic because of the room or placement of other instruments, so then I usually try my variable d ev's next......
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Mike Rivers[_2_] Mike Rivers[_2_] is offline
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Default Moving coil microphone frequency response

On 7/29/2014 11:25 PM, Nate Najar wrote:

What factors determine the frequency response of a moving col
microphone?


The graphic arts department that draws the frequency response curve that
they publish with the mic's specifications.

There are other factors, of course - the mass of the moving parts, the
resonances, both of the diaphragm and the air chamber, the diaphragm
size and thickness . . . . many things. They build a mic and then tweak
those things to make it sound the way they want it to sound.

One thing I've noticed is that, concerning my re15's and 20' (some of
my favorite mics!), the plots for them look very similar except that
the re20 extends further down and up. So how come, if I want to make
them sound similar, I have to cut about 4-6 db at 1000 cycles on the
re15?


If you really want to know, you need to measure them, not just use your
ears and tweak until they sound similar. Have you tried them at various
distances and find that you need the same dip at 1 kHz in order to sound
similar at each distance? Could be differences in the polar pattern



--
For a good time, visit http://mikeriversaudio.wordpress.com
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Scott Dorsey Scott Dorsey is offline
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Default Moving coil microphone frequency response

Nate Najar wrote:
What factors determine the frequency response of a moving col microphone?=


Lots of them, but for a basic introduction you should get a copy of
"Music, Physics, and Engineering" by the great Harry F. Olson.

One thing I've noticed is that, concerning my re15's and 20' (some of my fa=
vorite mics!), the plots for them look very similar except that the re20 ex=
tends further down and up. So how come, if I want to make them sound simil=
ar, I have to cut about 4-6 db at 1000 cycles on the re15? They sound eeri=
ly similar when I do that, but that seems like a drastic EQ for a mic that =
was purported to be flat through that range....


Because the plots are made in free space with a calibrated load on the mike,
and you are using them closer to the source and the load your preamp puts on
the mike is different.

I wish they had made the re29 the size of the 15 instead of the size of a u=
67! =20


And this is why there are still people using the 666 today....
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."


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Roy W. Rising[_2_] Roy W. Rising[_2_] is offline
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Default Moving coil microphone frequency response

(Scott Dorsey) wrote:
Nate Najar wrote:
What factors determine the frequency response of a moving col
microphone?=


Lots of them, but for a basic introduction you should get a copy of
"Music, Physics, and Engineering" by the great Harry F. Olson.

One thing I've noticed is that, concerning my re15's and 20' (some of my
fa= vorite mics!), the plots for them look very similar except that the
re20 ex= tends further down and up. So how come, if I want to make them
sound simil= ar, I have to cut about 4-6 db at 1000 cycles on the re15?
They sound eeri= ly similar when I do that, but that seems like a
drastic EQ for a mic that = was purported to be flat through that
range....


Because the plots are made in free space with a calibrated load on the
mike, and you are using them closer to the source and the load your
preamp puts on the mike is different.

I wish they had made the re29 the size of the 15 instead of the size of
a u= 67! =20


EV Founder Lou Burroughs told me the cardioid RE20 could have been the same
size as the RE15 but "Marketing" wanted it to be the size of the U67. All
things considered, Marketing was right. I, too, agree that another useful
tool would have been a small-body cardioid with Continuously-Variable "D".

And this is why there are still people using the 666 today....
--scott


After mixing some important shows in '69-'70, the politics of TV pushed me
onto the Lawrence Welk Show. I had been using the RE15 throughout the
orchestras on the other shows, but was told to use 666s, as had been the
previous favorite. After a while, I was able to move the tools up to the
RE15s. It seemed that Mr. Welk liked what I was doing. When I joined the
show, much of the music was pre-recorded off-sight. Three years later,
only a few numbers were done that way. I really think the RE15 was an
important part of the reason.

Here's an example of what the RE15 can do. Only the strings were mic'd
with the then-new Sony ECM-50s, on the instruments.
https://www.youtube.com/watch?v=9rgLd6A0DWM

--
~ Roy
"If you notice the sound, it's wrong!"
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Nate Najar Nate Najar is offline
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Default Moving coil microphone frequency response

On Wednesday, July 30, 2014 10:16:47 AM UTC-4, Scott Dorsey wrote:



Lots of them, but for a basic introduction you should get a copy of

"Music, Physics, and Engineering" by the great Harry F. Olson.



I knew you'd have a recommendation for a book, thanks!

N
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Les Cargill[_4_] Les Cargill[_4_] is offline
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Default Moving coil microphone frequency response

Nate Najar wrote:
On Wednesday, July 30, 2014 10:16:47 AM UTC-4, Scott Dorsey wrote:



Lots of them, but for a basic introduction you should get a copy of

"Music, Physics, and Engineering" by the great Harry F. Olson.



I knew you'd have a recommendation for a book, thanks!

N


+1 I got it for Christmas a few years back.

--
Les Cargo;;
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