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#1
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dealing with proximity effect - schoeps mk4s
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. |
#3
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dealing with proximity effect - schoeps mk4s
"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. |
#4
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dealing with proximity effect - schoeps mk4s
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 |
#6
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dealing with proximity effect - schoeps mk4s
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 |