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Tony Faulkner tires out some new Rode prototypes
Old 20th May 2016
  #31
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Quote:
Originally Posted by studer58 View Post
so let's be thankful we have a manufacturer who's prepared to take such commercial risks, keep the quality bar high and advance the state of engineering beyond what was possible (certainly affordable...then and now) when the M50 was the choice of professional recording engineers.
While I'd love to have three M50's to practice my Decca technique Rode knows it isn't possible and sees this niche market. I can't wait to see what they sound like and get a sense of the build quality.
Old 25th May 2016
  #32
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Old 25th May 2016
  #33
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Quote:
Originally Posted by brhoward View Post
While I'd love to have three M50's to practice my Decca technique
Well, there's always the DPA 4041SP to try your technique with.
Attached Thumbnails
Tony Faulkner tires out some new Rode prototypes-1024_20160312_102927.jpg   Tony Faulkner tires out some new Rode prototypes-20160312_104249_.25.jpg  

Last edited by tailspn; 26th May 2016 at 12:53 AM..
Old 26th May 2016
  #34
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I've been actually getting some pretty great sounds out of Telefunken m60s and the perspex sphere attachments they sell. They have deep, satisfying bass, but there's a character to the M50s that I still lust after. Almost every recording I've heard made with M50s sounds enormous and elegant.

The one thing the article doesn't reveal is what capsule material Rode is using. For those who have used a variety of M50s, what are the sonic differences between the early PVC, aluminum, and mylar capsules?

If Rode's goal is reliability, I would assume they would go with mylar, but the most sought-after M50s appear to be the aluminum-diaphragm ones.
Old 26th May 2016
  #35
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Quote:
Originally Posted by tailspn View Post
Well, there's always the DPA 4041SP to try your technique with.
Sorry for OT question - What are those stands?
Old 26th May 2016
  #36
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Quote:
Originally Posted by Larry Elliott View Post
What are those stands?
The 4041's are on 5 foot carbon fiber 7/8 diameter tubes, clamped to the Channel Classics A, B, and Center MS stands. Grace Designs mic holders used at the mic ends. The whole rig was really light, and as can be seen, did not put any strain on the primary stands.

The entire five channel ITU surround array consisted of three 4041SP for the A, B and Center, and two 4006 with nose cones as surrounds about 8 feet to the rear (the left surround can be seen on the far left of the horizontal picture, double hung under the Channel Classics Left Surround). It was for a Budapest Festival Orchestra Mahler 3 set of sessions.
Old 1st June 2016
  #37
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Last edited by studer58; 1st June 2016 at 05:55 AM.. Reason: link addition
Old 1st June 2016
  #38
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Thanks for the link, fascinating read.

I couldn't help but notice Mr. Faulkner's remark on the inner cardioid mics of his 4 mic array much discussed on this forum:

Quote:
TF: I started out with ORTF and subsequently NOS, but those spacings didn’t work in the array because I wanted it to deliver ‘reach’. Keeping the angle between the mics at 90°, as for NOS, I tried dividing my 66.7cm omni spacing by the Golden Ratio number of 1.618 and arrived at 41.2cm, and there it has stuck!
Notice the "41.2cm" as opposed to the 47cm we usually describe it as.

Of course, he goes on to say:

Quote:
They’re starting points. Setting the spacings and angles in stone with a microscope is not the best idea because much in sound and stereo is about time as well as distance, and the speed of sound varies with altitude, temperature, etc., which affects the time and phase relationship between microphones. Halls sound different depending on the time of day, the temperature, the humidity, and so on.
And to make it complete:

Quote:
TF: About a metre or so behind and above the conductor. The omnis are usually a bit too fat and ‘puddingy’ and the cardioids are usually a bit too thin and scratchy, so you’ve got a choice. Blend it all together when you get home.
As they say: "from the horse's mouth". I would recommend everyone here who reads the "Remote" forum to read this article It contains a wealth of information on mics and technique.

Regards, Christine
Old 1st June 2016
  #39
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Thread Starter
I agree Christine, a great read indeed. I for one am mightily heartened that a company like Rode has formed a creative partnership with TF, resulting in good products such as the NTR and (hopefully) the TFM50 (or whatever it ends up being called).

Clearly Tony stuck his neck out by championing the cheaper Rode SD mics at a time when it wasn't expected that someone of his calibre...etc etc. The sad sorry story of the fallout was enacted in this very forum, and clearly TF hasn't forgotten it, judging by the reference to it in the interview. However it's resulted in mic developments guided by "ears of sound judgement", with a tip of the hat to revered designs and operating principles from the early golden years.

It's a far cry from a guitar company (let's say Fender) selling its 'Eric Clapton Signature' model using superstar endorsement...I doubt we'll see Tony F's smiling face in ads beside the new mic, but I'm pleased it (and the new SD omni contender) have his input.

If more of his calibre were embraced by mic manufacturers in similar symbiosis we'd likely see devices which really broke new ground ?
Old 1st June 2016
  #40
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Quote:
Originally Posted by connloyalist View Post
Notice the "41.2cm" as opposed to the 47cm we usually describe it as.
It's not just us. Faulkner himself describes it as 47cm. See his post #14, 3rd paragraph. He also talks about using the Schoeps mk21 capsules for the inner pair.

In the text interview above, he talks about using cardioids (not wide cards) at the 41.2cm distance.

In any case, I think it should be fairly clear that he means for these measurements to be starting points; they are not "written in stone" as it were.

Last edited by Bruce Watson; 6th June 2016 at 04:45 PM..
Old 6th June 2016
  #41
Gear Addict
This picture of the Beethoven9th is on the Festival's FB.
Attached Thumbnails
Tony Faulkner tires out some new Rode prototypes-sf16b9.jpg  
Old 6th June 2016
  #42
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Quote:
Originally Posted by heva View Post
This picture of the Beethoven9th is on the Festival's FB.
Now that's a spaced pair!
Old 7th June 2016
  #43
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Quote:
Originally Posted by David Spearritt View Post
Now that's a spaced pair!
You mean the central pair...not the outrigger/flanks ?

Not really...there was a time later in the Ken Wilkie years when he abandoned the 3 mic Tree in favour of a 2 mic spaced centre pair, and this is pretty much in keeping with that method...2 to 3 feet was routine for Decca.

The outriggers are a different story, and there I agree with you...they seem to be more 'ambience' mics than capturing anything ensemble related ?
Old 5th July 2016
  #44
Gear Addict
Pictures on the DVD (interview with TF). The article above is in fact a transcript of this interview (with some inaccuracies).

Interesting to note that the interviewer talks about 'large diaphragms with the spheres behind them' whereas I thought the m50 were small diaphragms.

Last edited by heva; 6th July 2016 at 08:55 AM..
Old 16th July 2017
  #45
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I really wish there was some sort of info on the TFM-50; specs, release date, pricing, anything!
Old 16th July 2017
  #46
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Quote:
Originally Posted by TheShadowV View Post
I really wish there was some sort of info on the TFM-50; specs, release date, pricing, anything!
You could enquire directly from the sauce...and share the good oil with us: info@rode.com
Old 16th July 2017
  #47
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Quote:
Originally Posted by studer58 View Post
You could enquire directly from the sauce...and share the good oil with us: info@rode.com
Both Sweetwater and Vintage King Audio inquired for me, but why not? I shot them an email. I'll post if I get any info back.
Old 2nd August 2017
  #48
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Old 2nd August 2017
  #49
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Quote:
Originally Posted by studer58 View Post
....meanwhile, another Australian company has released a 'tribute to the M50':
I'm excited by this. I'll be curious to read what these sound like and by the time I get busy again in the fall, maybe there will be three to demo in the USA. Please, anyone in the know, keep us informed. I would jump at the chance to be able to (mostly?) replicate the M50 experience. Otherwise, I will never be able to get into that game

D.
Old 4th August 2017
  #50
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Quote:
Originally Posted by tourtelot View Post
I'm excited by this. I'll be curious to read what these sound like and by the time I get busy again in the fall, maybe there will be three to demo in the USA. Please, anyone in the know, keep us informed. I would jump at the chance to be able to (mostly?) replicate the M50 experience. Otherwise, I will never be able to get into that game

D.
These folks are really big on doing all the brass milling and critical fabrication (including capsule making) themselves....I've never seen so many CNC lathe videos in one spot before (homepage and YouTube) !

Their Facebook page has a video of the M49 'tribute' model in production (see July 26 entry): https://www.facebook.com/BeesNeez/

It'll be great to see 2 Australian top-ranking contenders for the M50 (2017 style) replacement have products in the marketplace soon, although I have doubts the potential global buyers-base is sufficient to sustain both....hmmm, competition, a good or a bad thing ?
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