Royer SF24 vs Schoeps Omnis as main pair?

[jnorman]

a while back i had to sell my dpa 4006s, and now am in the market for a new main pair of mics for chamber esnsembles. i have been using an ORTF pair for most things lately, but feel the need for spaced omnis when in a nice space.

however, i have owned several pairs of ribbons over the years (royer r-121s, coles 4038s, fathead IIs, shinybox 46s, etc), and i gave a good listen to the royer sampler CD of the SF24 tracks, which were quite good. blumlein can do wonders in the right situation, so now i am wondering whether i should try an active stereo ribbon setup instead of a pair of nice omnis.

just in terms of being versatile, recording in a variety of environments from small rooms to large halls, dead spaces to very reverberant spaces, which way would you go? thanks.

[RobAnderson]

If versatility is a concern, then the Schoeps are the way to go. You can always add more capsules as you go, making your setup even more versatile.

The Royer is a good mic, but it is a one-trick pony - it does XY Blumlein or MS Blumlein; take your pick.

However, if you very much like the one trick it can do...

[Don S]

Definately Schoeps. Especially for chamber, I liked the MK21 wide cardioid in a modified ORTF. But for getting good detail, nothing beats the DPA. Why did you sell them?

[summer_room]

I own a SF12 and have access to DPA 4006's.
In my opinion - if you have the right source and the right room, the ribbons are fantastic.
But if you need a main pair that needs to be as versatile as you discribe, the blumlein mic is not my choice.

all the best - jon.

[David Spearritt]

I have Schoeps, DPA, SF24, AKG 426B. The Royer is used most for chamber music concert recordings as the main pair, because:

1. The room is one of the finest acoustics in the world, and the Blumlein config with the narrow ribbon elements gives goose bumps from the imaging and depth.

2. It can hang on a single strong cable drop from the ceiling, something you cannot do with the AKG cable, if the 426 cable was better it maybe used as much as the Royer.

3. The sound is warm and not scratchy on strings and vocalists, with EQ can be every bit as good as condensers.

I also used spaced MK21 pair or 4006TL pair occasionally, but the lack of pinpoint imaging is not as satisfactory in such a superb acoustic.

http://www.nagata.co.jp/e_sakuhin/factsheets/qcm.pdf

I have many tens of recordings of the finest chamber musicians in the world made with the Royer, Quatuor Mosaiques, Petersen String Quartet, Eggner Trio, Jerusalem String Quartet, they represent superb demo recording quality. I just wish I could post some. Royer sales would go up.

Here is an example of a piano recording I can post, Royer SF24 main with Schoeps MK21 outriggers.
http://www.lodestarrecordings.com.au...ads/Etude2.mp3

[Corran]

In terms of versatility, I don't know what I would do without my cardioid ORTF pair, my stereo ribbon, and omnis. I would hate to make a sacrifice in certain recordings because one or the other would be better in certain halls.

If it's a really reverberant space you are not going to want the omnis. If it is dead you will want the omnis. If it's very quiet chamber music you won't want the ribbon, if it's a loud jazz band you will.

I guess this isn't very helpful. Frankly if I were you I would get a cardioid pair and an omni or two to flesh out the low-end content. I find the least use for my stereo ribbon (B&O BM-5, predecessor to the SF-12) due to gain issues (though admittedly it is really low-gain).

[phil.]

Originally Posted by David Spearritt

http://www.nagata.co.jp/e_sakuhin/factsheets/qcm.pdf

Minoru Nagata is with out a doubt one of the finest acousticians in the world! A genius, who has designed a number of incredible sounding halls in many different countries. David, you are very blessed to record in one of his halls on a regular basis.

Best,

Phil.