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CM3 - really THAT good? Condenser Microphones
Old 16th June 2012
  #361
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The Listener's Avatar
And this last example shows that you need to know what you are doing and listening to... Well omnis sound nicer to me in most of the cases...

btw - I just used CM3s for live sound yesterday. I used them on two Iranian tombak players and it worked wonderful - full realistic sound, I had to add quite a bit of high end for them to be happy, but it was there and it sounded very nice. I also didn't have any problems with feedback although I was afraid that wide cardioid would be a problem, but it wasn't. It was an open air concert so the wind was a problem on soundcheck, I had to low cut even though it sounded better without that filter, but fortunately at the time of concert there was no wind and I could put back more of the bass.
When the percussionists asked me what mics are that, a bit suspicious, I said - some very cool Swedish mics, like Schoeps, but not that expensive.

btw - I must also add that I was using Rode NT5s for live sound a lot lately and I think they are wonderful mics now. But CM3 are equally useful and good sounding for even less money.
Old 16th June 2012
  #362
Gear Head
Actually I didn't process the tracks at all, so I didn't macht the levels. When I listened to them in my system I regulated the desired volume manually, so I guess I bypassed the effect of loud=better. I don't prefer the DPA sound in this particular hall mainly because I don't like the acoustics of this hall, sounds more like a shoe box... Also I find on the CM3 track the balance between the clarinet and pianoforte better. On the DPA track the piano seems far and not detailed enough to my taste. But I'm always happy to learn what other people hear.
Old 17th June 2012
  #363
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Haigbabe's Avatar
 

Quote:
Originally Posted by Oren View Post
Actually I didn't process the tracks at all, so I didn't macht the levels. When I listened to them in my system I regulated the desired volume manually, so I guess I bypassed the effect of loud=better. I don't prefer the DPA sound in this particular hall mainly because I don't like the acoustics of this hall, sounds more like a shoe box... Also I find on the CM3 track the balance between the clarinet and pianoforte better. On the DPA track the piano seems far and not detailed enough to my taste. But I'm always happy to learn what other people hear.
Hi Oren.

Thanks for the post and the files!

Very interesting. For what it's worth I much preferred the CM3 track.

Cheers,

Haigbabe
Old 18th June 2012
  #364
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amfortas2006's Avatar
 

Quote:
Originally Posted by Oren View Post
And yet another clip of the highly regarded CM3. After reading this thread I just had to buy a pair...

I recorded a live concert with a pianoforte (historical one dating from 1810s) with classical clarinet. Used the CM3 at 25cm with a total angle of 90 degrees and flanked them with two DPA 2006a at around 40cm. The room was small and had rather poor acoustics and lots of unfriendly reflections so of course the CM3 won bigtime over the DPA (well it's not a fair game in this small hall )

I'm attaching a small clip from the concert. The signal chain is...
I also much prefer the CM3 in this case, the 2006a sound somewhat fat and muffled to me in this room.

The CM3s much more clear and natural in these clips to me (at least what I think the clarinet and the pianoforte sounded like in that place.

With an instrument like pianoforte I much prefer to hear it clear with all it's faults (that "non modern-" and bit "out of tune" sound) then in any way "enchanced" sound that many high end microphones tend to lend the instruments. and that usually makes my stomach turn over while listening.

It could be this particular room+the DPA that I didn't like so much.
Old 18th June 2012
  #365
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It's a comparison of polar patterns in a particular space, not even that
though, because the mic placement is not similar.
Old 18th June 2012
  #366
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amfortas2006's Avatar
 

Quote:
Originally Posted by aracu View Post
It's a comparison of polar patterns in a particular space, not even that
though, because the mic placement is not similar.
Thank you so much for clarifying that, such a great help

:-P
Old 29th June 2012
  #367
ksm
Gear Head
Any news about OM1?
Old 30th June 2012
  #368
Gear Addict
 

I've learned a lot from this thread, and others, and have ordered a pair of CM3s.

Now I am wondering if I should add another to that order, and make it three. (They are backordered, so could probably add another to the order, before they ship.) A third one might be useful to use as an LCR array, or (sort of similar, I guess) a tree.

Does anyone use sub cards in some kind of array of three?

Is this a reasonable thought?

Thank you.

DG


P.S. +1 on the OM-1 question.

Thank you.

DG
Old 30th June 2012
  #369
Gear Addict
 

I certainly wish I had gotten 3. LCR recordings and even MS recordings with that setup would be cool.
Old 1st July 2012
  #370
Here for the gear
 

3 cm3's?

Hi DG,

I tried once a wide setting of 3 microphones on large ensembles, that worked very nice for me and I can recommend the use of a trio this way.

Ever since I try to improve this setting. 2 weeks ago I recorded a full symphony-orchestra and a chamber-orchestra with choir and soloists. The stand in the picture was about 3,50m up and 4,60m wide.
This time I wanted to find out the differences between my naiant-xw trio and my newest cm3 trio (I already got a cm3-duo earlier this year, also in use on these concerts as a pair on winds and choir respectively). There are also 2 audix m1245 mics in the main stand next to the naiants left and right, pointing upwards (you can see it in the picture on the left-channel naiant). As soon as I got time I will post some results, but I am afraid it won't be shortly really. I can tell already that I don't regret buying the new set of 3 cm3's.

Regards,
Peter.
Attached Thumbnails
CM3 - really THAT good?-trios-cm3-naiant-xw.jpg  

Last edited by hendriks; 1st July 2012 at 06:45 PM.. Reason: A few typos.
Old 1st July 2012
  #371
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boojum's Avatar
Quote:
Originally Posted by hendriks View Post
Hi DG,

As soon as I got time I will post some results, but I am afraid it won't be shortly really. I can tell already that I don't regret buying the new set of 3 cm3's.

Regards,
Peter.
Looking forward to your post(s).
Old 1st July 2012
  #372
Gear Addict
 

Thank you for posting, Peter.

I am quite new to this game, so I would ask if you could explain your setup a bit. I see that it is neither horizontal, nor vertical. So, the horizontal spacing of your mics is reduced from whatever is measured along the bar, to its projection onto the horizontal. And, you have some vertical separation between the L, C, and R.

What effect does this geometry have, and is there a name for this technique?

Thank you.

Interesting that you also use Naiants. My first (and so far, only) omnis are Naiants (X-Q model). That's what I used in this recording: https://www.gearslutz.com/board/remot...t-project.html . (I've been wondering whether, for this recording, the room, the equipment, or the placement (or all three) is the limiting factor, and what I need to do to improve it.)

Regards,

DG

Last edited by dgpretzel; 1st July 2012 at 10:07 PM.. Reason: spelling
Old 2nd July 2012
  #373
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jpgerard's Avatar
Hi, more news on the OM-1 in August, sorry, right now Line Audio's back ordered on just about every item...
Old 2nd July 2012
  #374
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The Listener's Avatar
Quote:
Originally Posted by jpgerard View Post
Hi, more news on the OM-1 in August, sorry, right now Line Audio's back ordered on just about every item...
Maybe it's time to grow from a one man operation into a bigger manufacture with more hands?

I'm sure the omnis will be worth the waiting.
Old 2nd July 2012
  #375
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jpgerard's Avatar
I don't think Roger wants to do that. He already delegated several aspects of production with mixed results... the current unavailability of the 2MP is due to a new anodizing plant messing up faceplates. It adds delay and cost to everything. Of course once all the original problems have been fixed production should be fluid but it will be a few more weeks at least before everything flows smoothly. It is true that Roger works an awful lot of hours right now! But personally I prefer to have to wait for a proper product. Patience is rewarded!
Old 2nd July 2012
  #376
Quote:
Originally Posted by The Listener View Post
Maybe it's time to grow from a one man operation into a bigger manufacture with more hands?
Two hands cost twice as much...got the idea?
You never have to wait to order Schoeps mics.
Old 2nd July 2012
  #377
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boojum's Avatar
Good cooking takes time. I can wait for the quality Line offers, especially at their price point.
Old 10th July 2012
  #378
ksm
Gear Head
I received my OM-1:s today. Thank you J-P Gérard! Can't wait to test them.
Attached Thumbnails
CM3 - really THAT good?-10072012171.jpg  
Old 10th July 2012
  #379
Quote:
Originally Posted by ksm View Post
I received my OM-1:s today. Thank you J-P Gérard! Can't wait to test them.
Sweet. I'm curious as to what you think of them when compared to other stuff... the CM3 are the best bang for buck I've found in a really long time..
Old 10th July 2012
  #380
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mljung's Avatar
I'm also following this with great curiosity - looking forward to hear more about these...

::
Mads
Old 11th July 2012
  #381
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boojum's Avatar
Mine arrived today, too. <no pic> I am going to take them out on Friday and strap them on top of a NOS array of the CM3's for a Line Audio Norman/Boojum array of a band I like a lot. In the past I have gotten this band with Schoeps MS or ORTF plus DPA 4061's. I am eager to see how the little Swedes will do. I'll feed the 788T with them. And a soundboard tap for vocals.
Old 11th July 2012
  #382
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jpgerard's Avatar
You're welcome! I still have 2 pieces in stock. Then no more for some time (I'm guessing at least a month).
Old 11th July 2012
  #383
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mljung's Avatar
Quote:
Originally Posted by boojum View Post
Mine arrived today, too. <no pic> I am going to take them out on Friday and strap them on top of a NOS array of the CM3's for a Line Audio Norman/Boojum array of a band I like a lot. In the past I have gotten this band with Schoeps MS or ORTF plus DPA 4061's. I am eager to see how the little Swedes will do. I'll feed the 788T with them. And a soundboard tap for vocals.
Sound like an interesting test, I reckon you'll post your findings...

::
Mads
Old 11th July 2012
  #384
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boojum's Avatar
Quote:
Originally Posted by mljung View Post
Sound like an interesting test, I reckon you'll post your findings...

::
Mads
Aw, shucks, I guess I will since you have twisted my arm.

Yeah, I will mix it over the weekend and hopefully have some tracks done NLT Monday. Line Audio has a winner in the CM3. I would be very surprised if the OM1 were not the same. The printed specs show it to be linear. I am curious about how it sounds, really how it hears.
Old 12th July 2012
  #385
Gear Head
Hi there,
just got my new pair of OM1. Will post samples soon. (Thanks for the fast delivery, Gerard!)
Oren
Old 12th July 2012
  #386
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Hi Oren! Glad that they made it quickly.
Old 12th July 2012
  #387
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Bibster's Avatar
 

Yep, would love to hear them from further away. My blondies don't cut that. (But they were groovy on piano)
Old 13th July 2012
  #388
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I envy those of you who got your OM1s so quickly. It takes a few weeks for things to cross the Atlantic. Still patiently waiting for mine to arrive.
Old 13th July 2012
  #389
I'm a bit confused. I live in Sweden and I can't even find any information about the OM1, it's not even on line audio home page? And some of you already have got it?

Sent from my E10i using Gearslutz App
Old 13th July 2012
  #390
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Don S's Avatar
 

Quote:
Originally Posted by Oren View Post
On the DPA track the piano seems far and not detailed enough to my taste. But I'm always happy to learn what other people hear.
It makes sense that the more directional pair (wide-cardioid) would bring out the piano a little more than omni. I'm sure a spot was used and omitted for the purpose of the AB. Thanks for posting the samples!
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