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Stero pair to record classical music Condenser Microphones
Old 5 days ago
  #31
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Quote:
Originally Posted by rumleymusic View Post
I think most of us avoid using LDC's for a main pair due to their poor off axis response and sluggish transient response by comparison, especially in semi coincident and spaced pair arrays. There are a couple good LDC stereo mics out there of course.
i know and from looking at specs, one might not expect ldcs to behave well as main mics - however, if i have enough time, i often set ldcs up in addition to the usual sdcs (for comparison) and more often than not, i like and sometimes even prefer the sound of ldcs...

[two setups i keep coming back to are two tlm 103s in ortf instead of a schoeps mstc64u (otherwise often my main mics) and three tlm170r in l/c/r instead of my various other sdcs from schoeps, neumann, sennheiser, b&k, soundfield]

Last edited by deedeeyeah; 5 days ago at 03:55 PM.. Reason: edited
Old 5 days ago
  #32
I must say, I struggled over how to categorize Neumann's KM18x series. There's no doubt that KM183's belong in tier one, and anyone who reads Richard King's book will notice that they feature prominently in some of his examples. But entry-level classical recordists don't usually buy omni's for their first SDC pair, and the KM184 has been controversial since its introduction. I think there is little controversy about the mics I did place in the top tier. If the KM 140 series were still in production, they would have made the top tier as well.

Also, please note that it was my conscious choice to only include SDC's in my listing. Many, many fine recording have been made using LDC's. In my view, they really come into their own at greater distances where their polar narrowing becomes an advantage rather than a defect. For that reason, I consider them to be "specialty tools", at least in the world of classical recording. Beginning recordists rarely get "big gigs" starting out; they are more likely to be recording smaller ensembles at closer distances in smaller spaces. My belief is that they are better off beginning with a SDC pair.

David L. Rick
Seventh String Recording
Old 5 days ago
  #33
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jnorman's Avatar
Here are sample clips with a direct comparison of the km140 vs the km184:
KM184 vs KM140
Old 5 days ago
  #34
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Old 5 days ago
  #35
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jnorman's Avatar
David - every time I hear someone claiming the virtue of the km140 while implying that the km184 is somehow lesser quality makes me want to show once again that they sound virtually identical. I used both mics for years interchangeably - they are excellent mics for many applications.
Old 5 days ago
  #36
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Quote:
Originally Posted by jnorman View Post
David - every time I hear someone claiming the virtue of the km140 while implying that the km184 is somehow lesser quality makes me want to show once again that they sound virtually identical. I used both mics for years interchangeably - they are excellent mics for many applications.
Yes Jim, but I like to go to the source and quote Neumann. There certainly appears to be cognitive bias problems in audio and this is no exception.
Old 5 days ago
  #37
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tourtelot's Avatar
FWIW, and it may well be psycho-audio, but I like (not love) the sound of my 140s and hated, hated, hated the SOUND of the 184s. And I trust my ears pretty well. Love to do the ol' double blind but I think I could EASILY tell them apart.

D.
Old 5 days ago
  #38
TC2
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Quote:
Originally Posted by Plush View Post
+1
Certainly the Neumann MK140 and all the 100 series are outstanding.
The successor KMA analog bodies with the current capsules are fantastic. Exhibiting that "Neumannsound" with great dignity.
Do you notice any significant difference between the 100 series and the KMA?
Old 5 days ago
  #39
Hey guys...

The controversy of the KM184 is long-standing, and my decision to exclude it from "tier one", was partly in hopes of avoiding exactly the kind thread-derailing argument that's now blown up. Can we agree that it's still a very good mic, and well-worthy of inclusion in (at least) "tier two"? That, together with its attractive pricing makes it highly worthy of consideration by the OP. There was a smoking hot sale on pairs of them maybe a year ago, and I nearly bought a pair for myself. And I would definitely own of pair of KM183's if I didn't already have so darn many 4006 variants in inventory.

Let's try to get back on topic. The OP asked why it was so hard to choose a good pair of mics for classical recording, and then mentioned several options that I thought were decidedly mediocre. I think we've now given him many better suggestions. But based on where he was starting, I think the mics I labeled "tier one" are probably all out of his price bracket. If zorba1977 is willing to be forthcoming about his upper spending limit, we can probably find some mics in the "tier two" list that would be very good options for him, and perhaps offer some guidance on their relative merits. But let's please stop arguing about Neumann, and let the OP tell us how we can help him.

David
Old 5 days ago
  #40
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tourtelot's Avatar
Wasn't arguing, I don't think. Just saying that I could recommend one and not the other based on what I have heard (owned both mics.)

D.
Old 5 days ago
  #41
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Plush's Avatar
Quote:
Originally Posted by TC2 View Post
Do you notice any significant difference between the 100 series and the KMA?
KMA measures slightly better (lower noise) but I hear no differences.
Old 2 days ago
  #42
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John Willett's Avatar
 

Smile

Quote:
Originally Posted by rumleymusic View Post
I think most of us avoid using LDC's for a main pair due to their poor off axis response and sluggish transient response by comparison, especially in semi coincident and spaced pair arrays. There are a couple good LDC stereo mics out there of course.
Agreed in principle - though I am just now adding a stereo pair of Gefell M930 to my personal mic. kit as a main stereo pair (I already have pairs of Sennheiser MKH 40 and 8040 as well as fig-8 pairs and omni pairs).
Old 2 days ago
  #43
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Don S's Avatar
 

Quote:
Originally Posted by zorba1977 View Post
Is there a microphone that I can use for years in almost all situations? I want to invest in a good pair that can last for years
A pair of Schoeps with the MK5 (omni/cardioid switchable cap) would keep you happy, but may start a lifetime addiction.
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