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jnorman
 
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Default need new pair of spot mics for chamber ensemble

i'm doing some work with a four piece chamber group in a studio
setting. my main pair are schoeps cmc64s in ORTF, but i want to add
some spot mics for balance as needed. cant really afford another pair
of schoeps, but also cant go too far down the ladder in terms of
quality. i am considering the josephson c42's, the akg c480's, or
maybe up the ante a bit for a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s, but i dont know personally. the
c42's also show a lift around 6-8k, and i havent used them either.
the c480's have a very flat response curve, and seem to be the most
appealling to me right now because of that - i have truly been
impressed with my schoeps due to their very flat and neutral response,
and want to get as close as i can to that kind of sound (lots of flute
in this material, and hyped top ends do not work well with woodwinds
in my experience). i would appreciate any comments on the mics i am
considering, plus any other thoughts you might want to share. vielen
dank.
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Scott Dorsey
 
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Default need new pair of spot mics for chamber ensemble

jnorman wrote:
i'm doing some work with a four piece chamber group in a studio
setting. my main pair are schoeps cmc64s in ORTF, but i want to add
some spot mics for balance as needed. cant really afford another pair
of schoeps, but also cant go too far down the ladder in terms of
quality. i am considering the josephson c42's, the akg c480's, or
maybe up the ante a bit for a pair of km140s, or maybe down the ladder
abit to at4051's.


I would tend to suggest going to the AT4053, since it's got a tighter
pattern than any of the mikes you list, and for spotting the tighter pattern
is a really big deal.

I'd also maybe suggest the Beyer M160 if you have a preamp that can handle
it. The smooth top end tends to even out instruments that would otherwise
be a lot harsher when spotted.

i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s, but i dont know personally. the
c42's also show a lift around 6-8k, and i havent used them either.
the c480's have a very flat response curve, and seem to be the most
appealling to me right now because of that - i have truly been
impressed with my schoeps due to their very flat and neutral response,
and want to get as close as i can to that kind of sound (lots of flute
in this material, and hyped top ends do not work well with woodwinds
in my experience). i would appreciate any comments on the mics i am
considering, plus any other thoughts you might want to share. vielen
dank.


It is hard to beat the Schoeps for accuracy, especially on the top end. But
for spotting, I think you want something a little muted on the top end and
with an extremely tight pattern, and I think the tight pattern might be even
more important than tonal accuracy for the spots.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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Benjamin Maas
 
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Default need new pair of spot mics for chamber ensemble

How about some ribbons of some sort? Coles or Beyer 160s, perhaps... For
condensers, one of my new favorites is the Microtech Geffel M930. It is
very quiet, accurate, and not strident (not as neutral as Schoeps, though).
It is a fantastic all-around mic.

--Ben

--
Benjamin Maas
Fifth Circle Audio
Los Angeles, CA
http://www.fifthcircle.com

Please remove "Nospam" from address for replies

"jnorman" wrote in message
om...
i'm doing some work with a four piece chamber group in a studio
setting. my main pair are schoeps cmc64s in ORTF, but i want to add
some spot mics for balance as needed. cant really afford another pair
of schoeps, but also cant go too far down the ladder in terms of
quality. i am considering the josephson c42's, the akg c480's, or
maybe up the ante a bit for a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s, but i dont know personally. the
c42's also show a lift around 6-8k, and i havent used them either.
the c480's have a very flat response curve, and seem to be the most
appealling to me right now because of that - i have truly been
impressed with my schoeps due to their very flat and neutral response,
and want to get as close as i can to that kind of sound (lots of flute
in this material, and hyped top ends do not work well with woodwinds
in my experience). i would appreciate any comments on the mics i am
considering, plus any other thoughts you might want to share. vielen
dank.



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Ty Ford
 
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Default need new pair of spot mics for chamber ensemble

In Article ,
(jnorman) wrote:
i'm doing some work with a four piece chamber group in a studio
setting. my main pair are schoeps cmc64s in ORTF, but i want to add
some spot mics for balance as needed. cant really afford another pair
of schoeps, but also cant go too far down the ladder in terms of
quality. i am considering the josephson c42's, the akg c480's, or
maybe up the ante a bit for a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s, but i dont know personally. the
c42's also show a lift around 6-8k, and i havent used them either.
the c480's have a very flat response curve, and seem to be the most
appealling to me right now because of that - i have truly been
impressed with my schoeps due to their very flat and neutral response,
and want to get as close as i can to that kind of sound (lots of flute
in this material, and hyped top ends do not work well with woodwinds
in my experience). i would appreciate any comments on the mics i am
considering, plus any other thoughts you might want to share. vielen
dank.


Gefell M 295

Regards,

Ty Ford

**Until the worm goes away, I have put "not" in front of my email address.
Please remove it if you want to email me directly.
For Ty Ford V/O demos, audio services and equipment reviews,
click on
http://www.jagunet.com/~tford

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Ty Ford
 
Posts: n/a
Default need new pair of spot mics for chamber ensemble

In Article ,
(jnorman) wrote:
i'm doing some work with a four piece chamber group in a studio
setting. my main pair are schoeps cmc64s in ORTF, but i want to add
some spot mics for balance as needed. cant really afford another pair
of schoeps, but also cant go too far down the ladder in terms of
quality. i am considering the josephson c42's, the akg c480's, or
maybe up the ante a bit for a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s, but i dont know personally. the
c42's also show a lift around 6-8k, and i havent used them either.
the c480's have a very flat response curve, and seem to be the most
appealling to me right now because of that - i have truly been
impressed with my schoeps due to their very flat and neutral response,
and want to get as close as i can to that kind of sound (lots of flute
in this material, and hyped top ends do not work well with woodwinds
in my experience). i would appreciate any comments on the mics i am
considering, plus any other thoughts you might want to share. vielen
dank.


Gefell M 295

Regards,

Ty Ford

**Until the worm goes away, I have put "not" in front of my email address.
Please remove it if you want to email me directly.
For Ty Ford V/O demos, audio services and equipment reviews,
click on
http://www.jagunet.com/~tford



  #6   Report Post  
ScotFraser
 
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Default need new pair of spot mics for chamber ensemble

a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s,

- i have truly been
impressed with my schoeps due to their very flat and neutral response,

I used to to do all my piano sessions at Chick Corea's studio (Mad Hatter in
LA) on a pair of Schoeps CMC5 cardioids. When I got my first pair of KM140s I
brought them in for a comparison & we concluded that one could edit between the
2 pairs, they were that interchangeable sound-wise.


Scott Fraser
  #7   Report Post  
ScotFraser
 
Posts: n/a
Default need new pair of spot mics for chamber ensemble

a pair of km140s, or maybe down the ladder
abit to at4051's. i've owned a couple of pairs of km184s before, and
found them to be a bit too hyped in the top for me, though dorsey says
the 140s are smoother than the 184s,

- i have truly been
impressed with my schoeps due to their very flat and neutral response,

I used to to do all my piano sessions at Chick Corea's studio (Mad Hatter in
LA) on a pair of Schoeps CMC5 cardioids. When I got my first pair of KM140s I
brought them in for a comparison & we concluded that one could edit between the
2 pairs, they were that interchangeable sound-wise.


Scott Fraser
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Rob Reedijk
 
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Default need new pair of spot mics for chamber ensemble

Scott Dorsey wrote:

I would tend to suggest going to the AT4053, since it's got a tighter
pattern than any of the mikes you list, and for spotting the tighter pattern
is a really big deal.


And if you can't find one with a tight pattern, make sure it has a good
off-axis frequency response. This is critical. Otherwise, as you put
it in the mix, it could significantly colour the entire sound.

Rob R.
  #9   Report Post  
Rob Reedijk
 
Posts: n/a
Default need new pair of spot mics for chamber ensemble

Scott Dorsey wrote:

I would tend to suggest going to the AT4053, since it's got a tighter
pattern than any of the mikes you list, and for spotting the tighter pattern
is a really big deal.


And if you can't find one with a tight pattern, make sure it has a good
off-axis frequency response. This is critical. Otherwise, as you put
it in the mix, it could significantly colour the entire sound.

Rob R.
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