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chris ruth chris ruth is offline
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Default mics for classical guitar

Any recommendations for mics that may be an upgrade from Oktava
MK-012s for recording classical guitar.
Let pre-empt some of your questions

room - ok, treated so kind of 'dead' on purpose
guitar - great!
player - ok (well it's me, i can post some recordings if you want to
gauge that)
equipment - usbpre 2 and laptop...that's it!
I will also do some guitar orchestra (boston guitar orchestra)
recordings live, and spaces vary alot.

thats
Chris
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swanny swanny is offline
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On 9/12/2011 3:38 PM, chris ruth wrote:
Any recommendations for mics that may be an upgrade from Oktava
MK-012s for recording classical guitar.
Let pre-empt some of your questions

room - ok, treated so kind of 'dead' on purpose
guitar - great!
player - ok (well it's me, i can post some recordings if you want to
gauge that)
equipment - usbpre 2 and laptop...that's it!
I will also do some guitar orchestra (boston guitar orchestra)
recordings live, and spaces vary alot.

thats
Chris


AKG C451 ?
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Nate Najar Nate Najar is offline
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Default mics for classical guitar

schoeps cmc 641

trust me
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Charles Tomaras Charles Tomaras is offline
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"Nate Najar" wrote in message
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schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical guitar
in a dead room? Seems an MK4 cardiod would be a better choice.

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Peter Larsen[_3_] Peter Larsen[_3_] is offline
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chris ruth wrote:

Any recommendations for mics that may be an upgrade from Oktava
MK-012s for recording classical guitar.
Let pre-empt some of your questions


room - ok, treated so kind of 'dead' on purpose


This is not good, because it - in my opinion - rules the best choice out,
DPA 4006 or similar.

guitar - great!


This is good.

player - ok (well it's me, i can post some recordings if you want to
gauge that)


For you to fix if not adequate.

equipment - usbpre 2 and laptop...that's it!
I will also do some guitar orchestra (boston guitar orchestra)
recordings live, and spaces vary alot.


Josephson C42, Shure KSM 141/137, AKG CK 451. All need suitable treble eq,
whatever that is. Do NOT go too close, to record an entire instrument you
need to be "instrument size" away from it. My best recordings of guitar in a
room are made with mic higher than players head, ie. angled perhaps 45
degrees down.

KSM 141 is the most useful one of those listed because of its dual
personality, but ambience and perspective tends to be better on the other
two when used for ensemble miking. Getting minimum phase EQ right helps a
lot, but conceptually the Shure seems to be a spot microphone rather than an
ensemble microphone - great for choir tho!

Recording guitar for track use and guitar in a room are two very different
recordings and thus come with different mic choices and placements. Based on
Ty Ford's mic test a - preferably pair of - Neumann tlm 102's ARE on my
"look for list". I do not have any personal experience with the tlm 102 so
while it does appear to be excellent it is premature for me to comment on
its usefulnes but I am thinking track use, comments are appreciated if
available.

And what the other guys said. With my existing setup my first choice would
be C42 for you as well as for the guitar orchestra. You should also check
the MKH 8040, to me it sounds as if Sennheiser have been in the Neumann
design archive, ie. eerily like the KM84 as I _recall_ a pair I borrowed and
stupidly did not buy in 1975 because they clipped my A77. Note: _not_ a
valid AB comparison!

Note: I instinctively dislike laptops for location recordings because they
are independently usable objects that are sellable at a shady beerjoint, the
Good Book says not to tempt ...

Chris


Kind regards

Peter Larsen





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PStamler PStamler is offline
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I say the Schoepses if you have the money, or perhaps Sennheiser
MKH40s. I also second the recommendation of Neumann TLM102s -- I
suspect they'd make a very good ORTF pair. Likewise Microtech Gefell
M930s.

Peace,
Paul
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Don Pearce[_3_] Don Pearce[_3_] is offline
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On Thu, 8 Dec 2011 22:33:05 -0800, "Charles Tomaras"
wrote:



"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


If the room is dead there is no need for a cardioid. Much better to
keep the smoother response of the omni.

d
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Arny Krueger[_4_] Arny Krueger[_4_] is offline
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"Don Pearce" wrote in message
...
On Thu, 8 Dec 2011 22:33:05 -0800, "Charles Tomaras"
wrote:



"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical
guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


If the room is dead there is no need for a cardioid. Much better to
keep the smoother response of the omni.


Not only that, but one of the justifications for high priced cardioids is
their allegedly superior off-axis response. With omnis, off-axis response is
strongly defined by the diaphragm's diameter.

Question to the OP - have you tried the omni capsule for your MK-012?


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Don Pearce wrote:

If the room is dead there is no need for a cardioid. Much better to
keep the smoother response of the omni.


Ah, we get to disagree Don, depending of course on whether the room is dead
but nice sounding or dead and boring.

To reap the omni benefits requires a well sounding room.

Also the off axis response doesn't really matter if there is no room sound
that gets influenced by it.

d


Kind regards

Peter Larsen



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On Fri, 9 Dec 2011 15:20:02 +0100, "Peter Larsen"
wrote:

Don Pearce wrote:

If the room is dead there is no need for a cardioid. Much better to
keep the smoother response of the omni.


Ah, we get to disagree Don, depending of course on whether the room is dead
but nice sounding or dead and boring.

To reap the omni benefits requires a well sounding room.

Also the off axis response doesn't really matter if there is no room sound
that gets influenced by it.

d


Kind regards

Peter Larsen



Dead is dead. Considering whether it is nice sounding or not is a
little like asking whether a light that is switched off is better with
a blue bulb or a pink one.

As for off axis not mattering in a dead room - that is exactly why I
suggested using an omni instead. The on-axis response of an omni is
generally much better than that of its cardioid equivalent.

In a live room, of course, the situation is more complex (and much
more fun). If the room sound is good, then moving an omni back a
little might be good. This is not usually the best solution with a
cardioid, because it inevitably has a much more coloured response
off-axis that will not improve things. There are many combinations,
not all of them euphonic.

d


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Don Pearce wrote:

Dead is dead.


Only in an an-echoic room, in real world rooms "dead" is a room with too
little treble and too much bass.

Considering whether it is nice sounding or not is a
little like asking whether a light that is switched off is better with
a blue bulb or a pink one.


As for off axis not mattering in a dead room - that is exactly why I
suggested using an omni instead. The on-axis response of an omni is
generally much better than that of its cardioid equivalent.


Just one example to counter this: the CK1 cardioid has a smoother, albeit
gently rising, response on axis than the CK22 omni based on a measurement
referencing a 4006 in a higly damped listening room, I probably still have
the raw measurement data on some harddisk.

In a live room, of course, the situation is more complex (and much
more fun). If the room sound is good, then moving an omni back a
little might be good. This is not usually the best solution with a
cardioid, because it inevitably has a much more coloured response
off-axis that will not improve things. There are many combinations,
not all of them euphonic.


Yes. But in a dead room I'll take a cardioid over an omni or a subcardiod
because of the lack of treble from the room sound that is there. It is
simpler than having to split the recording into M and S and boost the treble
on the S.

d


Kind regards

Peter Larsen



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On Fri, 9 Dec 2011 15:47:25 +0100, "Peter Larsen"
wrote:

Don Pearce wrote:

Dead is dead.


Only in an an-echoic room, in real world rooms "dead" is a room with too
little treble and too much bass.

Considering whether it is nice sounding or not is a
little like asking whether a light that is switched off is better with
a blue bulb or a pink one.


As for off axis not mattering in a dead room - that is exactly why I
suggested using an omni instead. The on-axis response of an omni is
generally much better than that of its cardioid equivalent.


Just one example to counter this: the CK1 cardioid has a smoother, albeit
gently rising, response on axis than the CK22 omni based on a measurement
referencing a 4006 in a higly damped listening room, I probably still have
the raw measurement data on some harddisk.


You can always find an exception to a general rule. Doesn't make the
rule wrong.

In a live room, of course, the situation is more complex (and much
more fun). If the room sound is good, then moving an omni back a
little might be good. This is not usually the best solution with a
cardioid, because it inevitably has a much more coloured response
off-axis that will not improve things. There are many combinations,
not all of them euphonic.


Yes. But in a dead room I'll take a cardioid over an omni or a subcardiod
because of the lack of treble from the room sound that is there. It is
simpler than having to split the recording into M and S and boost the treble
on the S.

d


Kind regards

Peter Larsen



OK, just a difference in definition of the word "dead". For me, dead
equals anechoic. If there is any kind of reverb, the room is not dead.

d

..
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Scott Dorsey Scott Dorsey is offline
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Charles Tomaras wrote:
"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


From my perspective, I will almost always take the MK41 over the MK4. If
you want more ambience, just pull it farther away!
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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"Scott Dorsey" wrote in message
...
Charles Tomaras wrote:
"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical
guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


From my perspective, I will almost always take the MK41 over the MK4. If
you want more ambience, just pull it farther away!
--scott


I've not used mine for classical guitar, nor much music for that matter but
I do have many hours of dialog and interview experience with my Schoeps
stuff and almost always prefer the sound of the MK4 over the MK41 if the
room sound and camera headroom will allow.

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chris ruth chris ruth is offline
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On Dec 9, 12:29*pm, "Charles Tomaras" wrote:
"Scott Dorsey" wrote in message

...

Charles Tomaras wrote:
"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641


trust me


Why would you recommend *the Schoeps MK41 capsule for solo classical
guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


From my perspective, I will almost always take the MK41 over the MK4. *If
you want more ambience, just pull it farther away!
--scott


I've not used mine for classical guitar, nor much music for that matter but
I do have many hours of dialog and interview experience with my Schoeps
stuff and almost always prefer the sound of the MK4 over the MK41 if the
room sound and camera headroom will allow.


WAIT. You guys are great but i think i should give some more info (as
usual)

Budget ~ $800.

I'd like the mic to work in a variety of settings since i will be
doing some live recordings, but mainly, for my personal use, it will
be a small room with a lot of dampening material (ala ethan winer's
recommendations).

Maybe i should stick with the Octava MK-012s for the small room
recording and just get another mic for live??
I have omni and cardiod capsules for the octavas.

thanks


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Charles Tomaras Charles Tomaras is offline
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"chris ruth" wrote in message
...
On Dec 9, 12:29 pm, "Charles Tomaras" wrote:
"Scott Dorsey" wrote in message

...

Charles Tomaras wrote:
"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641


trust me


Why would you recommend the Schoeps MK41 capsule for solo classical
guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


From my perspective, I will almost always take the MK41 over the MK4.
If
you want more ambience, just pull it farther away!
--scott


I've not used mine for classical guitar, nor much music for that matter
but
I do have many hours of dialog and interview experience with my Schoeps
stuff and almost always prefer the sound of the MK4 over the MK41 if the
room sound and camera headroom will allow.


WAIT. You guys are great but i think i should give some more info (as
usual)

Budget ~ $800.

I'd like the mic to work in a variety of settings since i will be
doing some live recordings, but mainly, for my personal use, it will
be a small room with a lot of dampening material (ala ethan winer's
recommendations).

Maybe i should stick with the Octava MK-012s for the small room
recording and just get another mic for live??
I have omni and cardiod capsules for the octavas.

thanks


Did your gain issues with the Octava's become more manageable with the USB
Pre2?

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chris ruth wrote:

[thread lost in schoepsung]

WAIT. You guys are great but i think i should give some more info (as
usual)


Budget ~ $800.


Allowed for in my suggestions, C42 as well as KSM 141 should be well within
that for a matched pair.

I'd like the mic


Pair of mics - or 4 even, my best folly for many years was to buy 2 pairs of
C42's that cam for sale simultanously - one here in Copenhagen and the other
in the US of A. Perhaps you should devote some time to learn stereo
recording since you keep saying mic rather than mics. Even if for a track in
a multitrack you should in my opinion - track count permitting - record your
guitar in stereo. With a guitar ensemble you DO need to learn how to set a
stereo pair up, it is NOT gonna sound right in multi-mono. If it is just a
spot mic used with a main pair, then using only one mic can be better than
using a pair, a spot mic is there to focus the instrument image.

I'm still only learning, and have been for 40 years, do not expect to get
good at setting up a stereo pair already in take 3.

Maybe i should stick with the Octava MK-012s for the small room
recording and just get another mic for live??
I have omni and cardiod capsules for the octavas.


Just what problem is it you need to solve then, they're perhaps not the
pinnacle of reliability - no mic with detachable capsules is, but not at all
bad mics. You should look into whether a Jecklin disk is a strategy for you,
it is forgiving and very useful in case you can not - and in real life live
recording you rarely can - get far enough away from an ensemble. A problem
that btw. also often necessitates 45 to 60 degrees angle between an ""ORTF
pair"" rather than the ""proper"" ORTF angle of 110 degrees. If there is a
hole in the middle the size of the US budget hole, then the angle needs
narrowing, if too much mono it needs widening, I try to reserve extreme left
and right for ambience. Recorded rooms and stages usually ARE wider than the
ensemble, remember!

thanks


Kind regards

Peter Larsen


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PStamler PStamler is offline
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I've used the MK012s for ORTF live recordings, with more-than-decent
results. I suggest getting a pair of the hypercardioid capsules;
they're actually closer to real cardioid than the "cardioid" ones.

If you use the MK012s in omni, point them up at the ceiling; the off-
axis response is reasonably flat, while the on-axis response is
bright.

Peace,
Paul
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Scott Dorsey Scott Dorsey is offline
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chris ruth wrote:

Maybe i should stick with the Octava MK-012s for the small room
recording and just get another mic for live??


What don't you like about the MK-012s? I think you'll be hard-pressed to
find a pair of anything better in that price range. The Oktava is really
a pretty good mike.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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On Dec 9, 3:53*pm, (Scott Dorsey) wrote:
chris ruth wrote:



Maybe i should stick with the Octava MK-012s for the small room
recording and just get another mic for live??


What don't you like about the MK-012s? *I think you'll be hard-pressed to
find a pair of anything better in that price range. *The Oktava is really
a pretty good mike.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."


First off, i usually them in ORTF, after lots of experimenting (i have
not tried the omni's pointing at the ceiling though. That's why i post
here!) . The issue is no matter what room i try (for solo recording),
i find i have to be very close (like a few inches), otherwise it's
starts to sound like crap (with either capsule). So I do a little EQ
(sometimes) add some reverb and a get a 'decent' recording. However,
the recording never sounds as good as my guitar sounds to my ears.
It's a really beautiful intrument, made by a local luthier, Aaron
Green (i'll give him a plug). And i can't seem to capture that
beautiful sound in a recording. I even tried to record a really good
player playing my guitar. I was blown away by the sound sitting in
front of him but the recording, well just ok.
For ensemble recording i tried ortf not far enough away, with the
omni's and basically got a recording of the center guitars. It was my
first time, i'm totally green. There was another time i recorded a
koto ensemble, put the mics farther, but got too much room and sounded
like crap.

I have not tried the usbpre 2 yet but i'm not expected a huge
improvement from that. All the above was done with a tascam.

thanks


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chris ruth wrote:

Any recommendations for mics that may be an upgrade from Oktava
MK-012s for recording classical guitar.
Let pre-empt some of your questions

room - ok, treated so kind of 'dead' on purpose
guitar - great!
player - ok (well it's me, i can post some recordings if you want to
gauge that)
equipment - usbpre 2 and laptop...that's it!
I will also do some guitar orchestra (boston guitar orchestra)
recordings live, and spaces vary alot.

thats
Chris


I think you've omitted one important parameter.

How much are you willing to spend, what's your max outlay for this
upgrade?

If not so much, Arny's suggestion of omni caps for your Oktavas could be
a fine next step. If more but not outrageously more, Ty's Josephson C42
MP's are a good ticket. Up from there the Schoeps are fine tools,
regardless of your choice of caps, omni, card, or hyper.

There are other options, like the Brauner VM1S, or Josephson C700S.

Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality. Feeding into that last item are your budget and the
way different configurations work in your room.

If you you listen now to the recordings you have made with your present
setup, how do you personally rate the playing, and the mic config and
placement?

--
shut up and play your guitar * http://hankalrich.com/
http://www.youtube.com/walkinaymusic
http://www.sonicbids.com/HankandShaidri

..
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chris ruth wrote:

First off, i usually them in ORTF, after lots of experimenting (i have
not tried the omni's pointing at the ceiling though. That's why i post
here!) . The issue is no matter what room i try (for solo recording),
i find i have to be very close (like a few inches) ,,,


Follow up pending, looks like it will tke more time to type than I have this
morning ...

I have not tried the usbpre 2 yet but i'm not expected a huge
improvement from that. All the above was done with a tascam.


Well, recorder really doesn't matter all that much, mic matters and
positioning thereof.

Anybod who hasn't read it should search for the title "The stereophonic
zoom" in the AES library, it is a 1983 or so item, and the author has
written a new version, possibly including surround.

thanks


Kind regards

Peter Larsen




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On Dec 9, 4:42*pm, chris ruth wrote:
For ensemble recording i tried ortf not far enough away, with the
omni's and basically got a recording of the center guitars. It was my
first time, i'm totally green. There was another time i recorded a
koto ensemble, put the mics farther, but got too much room and sounded
like crap.


By definition you can't do ORTF with omni mics. ORTF is defined as
using cardioid mics, spaced 7" apart, angled outwards at 110 degrees.
If you're using omni mics in that configuration all you have is spaced
omnis, and with the Oktavas you have the added problem of pointing the
capsules at the musicians, which will brighten up the direct sound
while the room pickup is less bright. This disconnect between the on-
and off-axis sound may be part of the reason you hear the recordings
as sounding like crap.

Do this: set the MK012s up as a real ORTF pair, with the cardioid
capsules. Stick a finger in one of your ears and move around the room
in front of the musician(s) until you find a spot where it sounds good
-- good direct sound, good balance. Put the ORTF pair there and
record. See how that sounds.

Peace,
Paul
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Ty Ford Ty Ford is offline
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On Thu, 8 Dec 2011 23:38:56 -0500, chris ruth wrote
(in article
):

Any recommendations for mics that may be an upgrade from Oktava
MK-012s for recording classical guitar.
Let pre-empt some of your questions

room - ok, treated so kind of 'dead' on purpose
guitar - great!
player - ok (well it's me, i can post some recordings if you want to
gauge that)
equipment - usbpre 2 and laptop...that's it!
I will also do some guitar orchestra (boston guitar orchestra)
recordings live, and spaces vary alot.

thats
Chris


Schoeps CMC641
TLM 67

Most classical folks are pretty sensitive about the plasticky sound of the
1st and 2nd strings. Using a mic with a bright top end increases the plink.

The mics I've mentioned above don't.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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Ty Ford Ty Ford is offline
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On Fri, 9 Dec 2011 01:33:05 -0500, Charles Tomaras wrote
(in article ):



"Nate Najar" wrote in message
news:29676328.378.1323411241479.JavaMail.geo-discussion-forums@yqj4...
schoeps cmc 641

trust me


Why would you recommend the Schoeps MK41 capsule for solo classical guitar
in a dead room? Seems an MK4 cardiod would be a better choice.


1. He didn't say totally dead.

2. Pull it back a bit.

I tried both here before going with the cmc641.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA



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On Fri, 9 Dec 2011 03:29:55 -0500, Peter Larsen wrote
(in article ):

Recording guitar for track use and guitar in a room are two very different
recordings and thus come with different mic choices and placements. Based on
Ty Ford's mic test a - preferably pair of - Neumann tlm 102's ARE on my "look


for list". I do not have any personal experience with the tlm 102 so while it


does appear to be excellent it is premature for me to comment on its
usefulnes but I am thinking track use, comments are appreciated if available.


You're right, Peter. The TLM 102 are contenders along with cmc641 and TLM 67.
Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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Ty Ford Ty Ford is offline
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On Fri, 9 Dec 2011 09:20:02 -0500, Peter Larsen wrote
(in article ):

Ah, we get to disagree Don, depending of course on whether the room is dead
but nice sounding or dead and boring


+1!

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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Ty Ford Ty Ford is offline
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On Fri, 9 Dec 2011 12:29:58 -0500, Charles Tomaras wrote
(in article ):

I've not used mine for classical guitar, nor much music for that matter but
I do have many hours of dialog and interview experience with my Schoeps
stuff and almost always prefer the sound of the MK4 over the MK41 if the
room sound and camera headroom will allow.


Tried the mk4 and mk41 and went the other way. Liked the mk41 better.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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Ty Ford Ty Ford is offline
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On Fri, 9 Dec 2011 10:33:29 -0500, Don Pearce wrote
(in article ):
OK, just a difference in definition of the word "dead". For me, dead
equals anechoic. If there is any kind of reverb, the room is not dead.

d



Please revisit the OP.

"kind of 'dead' "

The modifiers "kind" and "of" = "not"

Do any of us have access to an anechoic room?

Other than Don, of course.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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Mark Mark is offline
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Default mics for classical guitar



Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality.




I was hoping someone would mention that...

Mark



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chris ruth chris ruth is offline
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Default mics for classical guitar

On Dec 10, 11:39*am, Mark wrote:
Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality.


I was hoping someone would mention that...

Mark


the playing is fine. The guitar sounds great to the ear.
Again, the problem is, no matter what configuration i try, i need to
pout the mics withing 6 inches of the guitar otherwise it sounds bad.
So i think i'm missing some of the 'sound?' of the whole guitar, as it
would sound if you sat a few feet in front of it.
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Don Pearce[_3_] Don Pearce[_3_] is offline
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On Sat, 10 Dec 2011 10:48:32 -0500, Ty Ford
wrote:

On Fri, 9 Dec 2011 10:33:29 -0500, Don Pearce wrote
(in article ):
OK, just a difference in definition of the word "dead". For me, dead
equals anechoic. If there is any kind of reverb, the room is not dead.

d



Please revisit the OP.

"kind of 'dead' "

The modifiers "kind" and "of" = "not"

Do any of us have access to an anechoic room?

Other than Don, of course.

I no longer take any notice of words like "kind of". They are
meaningless in the modern argot.

d
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Mark Mark is offline
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Default mics for classical guitar

On Dec 10, 11:59*am, chris ruth wrote:
On Dec 10, 11:39*am, Mark wrote:

Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality.


I was hoping someone would mention that...


Mark


the playing is fine. The guitar sounds great to the ear.
Again, the problem is, no matter what configuration i try, i need to
pout the mics withing 6 inches of the guitar otherwise it sounds bad.
So i think i'm missing some of the 'sound?' of the whole guitar, as it
would sound if you sat a few feet in front of it.


i didn't mean to insult the playing...

my point was that the playing and the mic LOCATION are much more
important compared to the exact model of mic...
except for the choice of omni vs non omni that is also major...


if you have 2 tracks, record one of each and mix to taste.


Mark
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hank alrich hank alrich is offline
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Default mics for classical guitar

Mark wrote:


Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality.




I was hoping someone would mention that...

Mark


Well, I play guitar and right there is where my own troubles begin. g

--
shut up and play your guitar * http://hankalrich.com/
http://www.youtube.com/walkinaymusic
http://www.sonicbids.com/HankandShaidri
  #35   Report Post  
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hank alrich hank alrich is offline
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Default mics for classical guitar

chris ruth wrote:

On Dec 10, 11:39 am, Mark wrote:
Your playing will turn out to make the biggest difference. After that
mic configuration and placement will be the dominanat factors affecting
recording quality.


I was hoping someone would mention that...

Mark


the playing is fine. The guitar sounds great to the ear.
Again, the problem is, no matter what configuration i try, i need to
pout the mics withing 6 inches of the guitar otherwise it sounds bad.
So i think i'm missing some of the 'sound?' of the whole guitar, as it
would sound if you sat a few feet in front of it.


When I record solo guitar I like to have the mic pair 3' - 5' away.

--
shut up and play your guitar * http://hankalrich.com/
http://www.youtube.com/walkinaymusic
http://www.sonicbids.com/HankandShaidri


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Scott Dorsey Scott Dorsey is offline
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chris ruth wrote:

First off, i usually them in ORTF, after lots of experimenting (i have
not tried the omni's pointing at the ceiling though. That's why i post
here!) . The issue is no matter what room i try (for solo recording),
i find i have to be very close (like a few inches), otherwise it's
starts to sound like crap (with either capsule).


When you encounter this sort of thing, either the microphone is no good
off-axis, or it's a room problem.

The Oktavas are pretty good off-axis.

How is your monitoring?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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Ty Ford Ty Ford is offline
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On Sat, 10 Dec 2011 12:26:42 -0500, Don Pearce wrote
(in article ):

On Sat, 10 Dec 2011 10:48:32 -0500, Ty Ford
wrote:

On Fri, 9 Dec 2011 10:33:29 -0500, Don Pearce wrote
(in article ):
OK, just a difference in definition of the word "dead". For me, dead
equals anechoic. If there is any kind of reverb, the room is not dead.

d



Please revisit the OP.

"kind of 'dead' "

The modifiers "kind" and "of" = "not"

Do any of us have access to an anechoic room?

Other than Don, of course.

I no longer take any notice of words like "kind of". They are
meaningless in the modern argot.

d


That explains so much! Henceforth I'll remember that you truncate instead of
dither.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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On Sun, 11 Dec 2011 10:16:56 -0500, Ty Ford
wrote:

On Sat, 10 Dec 2011 12:26:42 -0500, Don Pearce wrote
(in article ):

On Sat, 10 Dec 2011 10:48:32 -0500, Ty Ford
wrote:

On Fri, 9 Dec 2011 10:33:29 -0500, Don Pearce wrote
(in article ):
OK, just a difference in definition of the word "dead". For me, dead
equals anechoic. If there is any kind of reverb, the room is not dead.

d


Please revisit the OP.

"kind of 'dead' "

The modifiers "kind" and "of" = "not"

Do any of us have access to an anechoic room?

Other than Don, of course.

I no longer take any notice of words like "kind of". They are
meaningless in the modern argot.

d


That explains so much! Henceforth I'll remember that you truncate instead of
dither.


Oh yes. I've never been one to dither.

d
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geoff geoff is offline
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Don Pearce wrote:

Oh yes. I've never been one to dither.



Me neither. I think .....

geoff


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Ty Ford Ty Ford is offline
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On Sun, 11 Dec 2011 18:38:09 -0500, geoff wrote
(in article ) :

Don Pearce wrote:

Oh yes. I've never been one to dither.



Me neither. I think .....

geoff





Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

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