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Lucas CS-1, let's talk Condenser Microphones
Old 26th November 2014
  #331
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Piedpiper's Avatar
Quote:
Originally Posted by Rumi View Post
Today 3 CS-1 arrived. Do I have to change anything to run them on 230 VAC?
Did you order these new? Are Lucas back in production after Oliver tragic death?
Old 26th November 2014
  #332
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Rumi's Avatar
Quote:
Originally Posted by Piedpiper View Post
Did you order these new? Are Lucas back in production after Oliver tragic death?
I don't know what the state is at AMI / Lucas after Oliver's passing.
I bought these second hand, there was a surprising ebay auction for all three.

A first quick test with acoustic guitar seems to indicate that I, too, hear an unnatural yet quite euphonic sizzle above 8kHz... But it's not "bright with no substance" as in the Peluso P12 I once tested, or "signal plus disconnected overpronounced sizzle" as in the Mojave 200 or Lauten Torch. The sound is substantial and clear, and the quick test gave me an impression of the good reach people mention. I guess I will find good use for the Lucas CS-1! Maybe I don't need three of them, though. I might eventually sell one. But first I will work with them for a while.

Maybe it depends on mic placement. If you place a Milab VM44 where you would place a KM84, it sounds much too bright, while in other places it sounds great. The Sanken CU-44X can sound surprisingly dull if put in the "usual places". In the right spot it's incredible.
I must say though that the sizzle I hear in my CS-1 test recordings is not simply too much of the highs of the instrument, it is a sound that is not present in the guitars I used for the test. But it's at least a cool sizzle, it sounds more like tube saturation than "chinese bright".

And maybe with more recordings this first impression gets corrected completely.
Old 27th November 2014
  #333
A beautiful sounding mic..... It sounds so real. It took me a few times to realize it is important to check placement as I find it excels when placed back a bit more from source. I have used it for vocals, ukulele, acoustic guitar and electric guitar (which it excels on about 3 or 4 feet away in a nice sounding room). Just a great mic, wish I bought 2
Old 28th November 2014
  #334
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MIKEHARRIS's Avatar
Which mic pre did you use Rumi...Karl's ?
Old 1st December 2014
  #335
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Rumi's Avatar
Quote:
Originally Posted by MIKEHARRIS View Post
Which mic pre did you use Rumi...Karl's ?
Yes! I put the three CS-1 close together and ran them through 3 channels of NPNG, one CS-1 set to cardioid, the other two to 2 clicks left and right. The polar patterns give a nice palette of sounds.
Old 21st February 2015
  #336
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I have just spent a week recording a band consisting of accordion, double bass, classical guitar / madolin, sopran sax / tenor sax / bassclarinet, and vocals, with all 3 CS-1 in action. I used the following mics:

U47 for double bass f-hole area
CS-1 for double bass fretting hand
Schoeps CMC6 with Mk4 on guitar / mandolin
CS-1 on guitar / mandolin
Sanken CU-44 on accordion right hand
Sanken CU-41 on accordion left hand
CS-1 on saxes / bassclarinet
Josephson C715 on saxes / bassclarinet
CAD E-350 for pilot vocals.

The two mics on the guitar were for two different flavours, the two mics on the saxes were for comparisons, and on the bassclarinet they were needed to cover all the notes (depending on which note is played, the radiation pattern of a bass clarinet can vary greatly. You literally need two mics to capture all the notes).

Mic pres were NPNG stock and Pueblo Audio.

What I can say so far is that I have by far never heard such an impressive mandolin recording (and I have recorded quite a lot of mandolins): the mandolin was clear as spring water, and had a lot of air around, it was like floating on air that filled a third of the stereo panorama - not that the signal was smeared over the area, but the air in which the mandolin played was so extended; the mandolin was well defined, and had its proper dimensions. It was just surrounded by so much air, and its sound was sparkling in that air. The Schoeps sounded like a very good example of the usual "point source that sounds quite sharp and piercing" you get with a cardioid SDC on a bluegrass mandolin.
My assistant and I agreed that you have to get used to such a "real" sound, and you could initially be irritated. It is quite different from the recordings we got used to.

The C715 is a wonderful mic. At times it sounded almost indistiguishable from the CS-1 on sopran sax, especially in the way they present the signal in space: both have this "extended mono" sound that sounds so wonderfully open, detailed and defined, yet very relaxed. I recently recorded a whole album with recorder with the C715. Again, the usual "ice pick" sharp image you can get when recording recorder was not present, the sound was wide open and relaxed. The Sanken CU-41 was much narrower on that recorder. From the impression I got now I would say that the CS-1 might be even more detailed, and maybe a bit less relaxed than the C715.

I didn't hear any of the sizzle from the CS-1 in those recordings that I had initially heard when I tested them with acoustic steel string guitar.

These are first impressions. The week-long session was about recording music, not about comparing mics. I will report back when I have a more complete impression.

I guess I'm very happy with my CS-1 trio!
Old 21st February 2015
  #337
Quote:
Originally Posted by Rumi View Post
I recently recorded a whole album with recorder with the C715. Again, the usual "ice pick" sharp image you can get when recording recorder was not present, the sound was wide open and relaxed.
Old 5th March 2015
  #338
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Thread Starter
So sad to hear about Oliver's passing. He will be missed.
Old 5th March 2015
  #339
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Piedpiper's Avatar
Understatement of the decade...
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