Quote:
Originally Posted by richgilb  I have been going through the same issues as you, looking for the holy grail of smoothness and clarity and low hiss for classical recording and have been through a few pairs in the last couple of months....and so far my conclusion is:
Hebden HS3010 for the omnis
Lauten Torches for the cardioids
I have tried and been disappointed with Rode NT5s, Peluso CEMC6s, Lauten Torch omnis (the cardioids are amazing) and ironically, the Hebden cardioids are also apparently poor. I will hopefully be trying some Blue Bottle Rocket stage 1 with B4 capsules soon and I hope they will be better than the Hebdens. The Blue mics are not a matched pair though. Fingers crossed.
You'll probably need $1200 plus the cash from selling your old ones though! |
Hi Rich
Have you used all of those microphones that you say are poor? I'm not trying to pick you up here, I just wondered if you had.
I use the older Calrec C1050's and don't really have any gripe with them, in fact I like them and use them in some role or other on many recordings. I've not used or heard the later version yet.
For me, the older C1050's work well on percussion as they are not hyper-bright but more natural sounding. Too bright as spot mikes in classical recording can be the kiss of death. They capture the body of sound on percussion and the tizz does not predominate. A nice balance.
I've used them too on piano, to me they are not unlike the M160 ribbon microphone but with more room, and are sometimes appropriate where that would be. They are spacious sounding microphones.
I have used them on occasion in preference to Schoeps cardiods as a crossed pair.