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CM3 - really THAT good? Condenser Microphones
Old 7th May 2014
  #901
one more addition to the huge collection:
https://app.box.com/s/lhfft8mllrrkmbjxrh2q

2xCM3 in ORTF + 2xOM1 50cm spacing, all 4 in the same bar and, with Line Audio 8P preamp.
No EQ, no reverb, just normalization -1dB

Don't pull the volume up, it's a bagpipe!
Old 7th May 2014
  #902
Quote:
Originally Posted by sweelinck View Post
one more addition to the huge collection:
https://app.box.com/s/lhfft8mllrrkmbjxrh2q

2xCM3 in ORTF + 2xOM1 50cm spacing, all 4 in the same bar and, with Line Audio 8P preamp.
No EQ, no reverb, just normalization -1dB

Don't pull the volume up, it's a bagpipe!
Very nice indeed! What is the proportion between the CM3's and the OM1's in the final mix?
Old 7th May 2014
  #903
CM3: 0dB
OM1: -3.6dB
Old 7th May 2014
  #904
Quote:
Originally Posted by apotheosis View Post
Very nice indeed! What is the proportion between the CM3's and the OM1's in the final mix?
CM3: 0dB
OM1: -3.6dB
Old 7th May 2014
  #905
I'm searching for an easy and quick setup for positioning the CM3's microphones and having visually the idea of getting all the correct stereo image. By experimenting a bit on Sengpielaudio.com I have found the following setup (see picture).
If that works on real life applications, it would be very easy to setup, because the SRA is nearly the same of the orchestra angle, and 90 degrees is an extremely easy to setup angle.
According to Sengpielaudio the setup should be:
36cm spacing, 90 degrees angle.

Anybody tried that already? I'll try that soon...

CM3 - really THAT good?-copia-di-widecardio-36cm-90-90.jpg
Old 9th May 2014
  #906
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boojum's Avatar
Quote:
Originally Posted by sweelinck View Post
I'm searching for an easy and quick setup for positioning the CM3's microphones and having visually the idea of getting all the correct stereo image. By experimenting a bit on Sengpielaudio.com I have found the following setup (see picture).
If that works on real life applications, it would be very easy to setup, because the SRA is nearly the same of the orchestra angle, and 90 degrees is an extremely easy to setup angle.
According to Sengpielaudio the setup should be:
36cm spacing, 90 degrees angle.

Anybody tried that already? I'll try that soon...

Attachment 397966
I'll be interested to see how this works. On paper, it looks great. And it is a dead easy setup. Hang an omni on each side and you are good to go.
Old 9th May 2014
  #907
If we focus only on the stereo image, I think it works. This is a quick and dirty experiment done with my old upright piano at home. I just played a series of C, from the lowest to the highest, just to test the stereo image (sorry for the completely not artistic and uninteresting performance).

Setup:
2 CM3 at 90 degrees, spaced 36cm. The lines of the microphones correspond to the edges of the piano.
I'll make some nicer experiments with better acoustics when I will have more time, to see also how it reproduces the room.

Test Piano.mp3

Quote:
Originally Posted by boojum View Post
I'll be interested to see how this works. On paper, it looks great. And it is a dead easy setup. Hang an omni on each side and you are good to go.
Old 10th May 2014
  #908
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elswhrco's Avatar
 

Quote:
Originally Posted by sweelinck View Post
I'm searching for an easy and quick setup for positioning the CM3's microphones and having visually the idea of getting all the correct stereo image. By experimenting a bit on Sengpielaudio.com I have found the following setup (see picture).
If that works on real life applications, it would be very easy to setup, because the SRA is nearly the same of the orchestra angle, and 90 degrees is an extremely easy to setup angle.
According to Sengpielaudio the setup should be:
36cm spacing, 90 degrees angle.

Anybody tried that already? I'll try that soon...

Attachment 397966
I almost always go 90 degree with the CM3s and vary the spacing between 25cm to 35cm depending on distance and width of source.
Old 10th May 2014
  #909
Lives for gear
 
elswhrco's Avatar
 

Quote:
Originally Posted by sweelinck View Post
one more addition to the huge collection:
https://app.box.com/s/lhfft8mllrrkmbjxrh2q

2xCM3 in ORTF + 2xOM1 50cm spacing, all 4 in the same bar and, with Line Audio 8P preamp.
No EQ, no reverb, just normalization -1dB

Don't pull the volume up, it's a bagpipe!
Really loving the "you are there" sound. And a nice warm, smooth acoustic.

(PM'd you, by the way...)
Old 10th May 2014
  #910
Harpsichord test

I just made another test with CM3, on my harpsichord.
Music is by William Byrd (La Volta).
Recorded at home, not very nice acoustic, but I tried to get only the harpsichord sound. 2xCM3 going to the two preamps of the Madiface XT. 36cm spacing, 90 degrees, about 70cm distance, as well as 70cm height from the soundboard. Mics had an angle of about 45 degrees, pointing to the soundboard.

Dry version:
Test Harpsichord dry.mp3

Little bit of reverb added:
Test Harpsichord reverb.mp3

Any comment/remark is very welcome!
Old 11th May 2014
  #911
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mljung's Avatar
Nice samples here sweelinck - another testament of how good the Line Audio microphones [and preamps] really are.

I have had the OM1 [stereo-set] for about 2 months now using them for catching sounds in the field... very nice.

::
Mads
Old 12th May 2014
  #912
I had a first chance to test my new CM's yesterday during a concert I gave with a dear friend of mine.
Between two Bach cantatas (in a beautiful little church), we played the B minor sonata for Flute and Harpsichord.
I set up a NOS pair at about 2,5m height, about 1m from the back of the conductor.
We moved the harpsichord for this sonata, so that the distance from the harpsichord and flutist to the mic stand was approximately 2m.
Harpsichord had the lid removed, the flutist stood right after the harpsichord in the bent side (which was turned, so from the audience point of view: keyboard right).
I play on the lightest register (the front 8') on my Austrian 17th-century model harpsichord.

Other than three spectral edits and adding volume to the whole, there has been no processing (no EQ, no compression, no reverb... nothing)
https://dl.dropboxusercontent.com/u/...onate%20II.wav
Old 12th May 2014
  #913
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mljung's Avatar
Quote:
Originally Posted by apotheosis View Post
Other than three spectral edits and adding volume to the whole, there has been no processing (no EQ, no compression, no reverb... nothing)
https://dl.dropboxusercontent.com/u/...onate%20II.wav
But in mono..!?

::
Mads
Old 12th May 2014
  #914
Quote:
Originally Posted by mljung View Post
But in mono..!?

::
Mads
nope, that's stereo
Old 12th May 2014
  #915
Quote:
Originally Posted by unqlenol View Post
Okay, here's an example of what was achieved with the above configuration:



Besides the final dither and gain adjusting, the only processing on this is a gentle hi shelf rolling down from around 200hz all the way up, by a few decibels on a very wide curve....to compensate a bit for proximity effect. No extra reverb. What you hear is about 90% cm3 and 10% 4050.
one of the best recordings I heard in years frankly
Old 12th May 2014
  #916
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mljung's Avatar
Quote:
Originally Posted by avillalta View Post
nope, that's stereo
Played directly in my browser, through a quick-time plugin, it's definitely mono. But downloaded and played via my DAW, it revealed itself as stereo.

Strange digital paths

::
Mads
Old 13th May 2014
  #917
Quote:
Originally Posted by apotheosis View Post
I had a first chance to test my new CM's yesterday during a concert I gave with a dear friend of mine.
Between two Bach cantatas (in a beautiful little church), we played the B minor sonata for Flute and Harpsichord.
I set up a NOS pair at about 2,5m height, about 1m from the back of the conductor.
We moved the harpsichord for this sonata, so that the distance from the harpsichord and flutist to the mic stand was approximately 2m.
Harpsichord had the lid removed, the flutist stood right after the harpsichord in the bent side (which was turned, so from the audience point of view: keyboard right).
I play on the lightest register (the front 8') on my Austrian 17th-century model harpsichord.

Other than three spectral edits and adding volume to the whole, there has been no processing (no EQ, no compression, no reverb... nothing)
https://dl.dropboxusercontent.com/u/...onate%20II.wav
beautiful sound and beautiful playing! amazing microphones, they sound so professional...
Was the NOS pointing straight horizontally? or did you have any inclination?
Old 13th May 2014
  #918
I always aim at about 2/3 of the musicians on stage, so in this case about 30% pointing downwards.
Old 13th May 2014
  #919
Thanks!

Quote:
Originally Posted by apotheosis View Post
I always aim at about 2/3 of the musicians on stage, so in this case about 30% pointing downwards.
Old 15th May 2014
  #920
I just quote completely, Fridberg.
I have both Line Audio 8MP preamp and DAV BG1. Line Audio is at the same quality level. Perhaps DAV has a little more color, but I have experienced that in some situation and on some acoustic instruments, the cleanness of the 8MP sounded better than the color of the DAV.
Really a great preamp, and honestly I prefer that to the more costly Millennia.


Quote:
Originally Posted by Fridberg View Post
Hi,

I own the Line Audio Pre amp 8MP and it is a marvelous pre amp. I use it with Pearl TL-4, Neumann KM184, Octava 012. I was recommended this pre amp from a friend who also have the Millennia pre amp. He has AB tested them and could not hear any difference. The Line Audio pre amp (both 2MP and 8MP are the same) are quiet and very transparent. I only record acoustic, classical music and for me it is very, very good. In Sweden the 8MP costs around $835 including Vat. A Millennia costs around the same price for each channel.

/Pär
Old 18th May 2014
  #921
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ISedlacek's Avatar
Yes, Line Audio preamp is surprisingly good at this price point. Simply clean, natural sound, similarly as the mics. DAV is more "coloured" as said above. I too would prefer both of them over HV3, because to my ears they sound more "relaxed" and more open and natural.
Old 18th May 2014
  #922
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Quote:
Originally Posted by monitor View Post
one of the best recordings I heard in years frankly
yeah.

philp
Old 31st May 2014
  #923
I posted a sound clip of my daughter's spring choir concert on the OM1 board:

https://www.gearslutz.com/board/attac...ut-concert.mp3
Old 1st June 2014
  #924
Nice, lifelike sound. Why do so many classical-label sound engineers insist on using 24 mics, tons of EQ, compression, limiting, reverb and so forth, thereby butchering the sound?
Old 1st June 2014
  #925
Quote:
Originally Posted by classical View Post
Nice, lifelike sound. Why do so many classical-label sound engineers insist on using 24 mics, tons of EQ, compression, limiting, reverb and so forth, thereby butchering the sound?
Today I had a chat with an organist who was proud to tell me that the engineer who recorded his last CD used 14 microphones (!!!!!!) to record the organ... Some people still think that the more microphones there are the better it sounds..
Old 1st June 2014
  #926
Funny, we humans hear just fine with only two ears.
Old 2nd June 2014
  #927
Gear Maniac
 
DaveyJones's Avatar
 

Quote:
Originally Posted by classical View Post
Nice, lifelike sound. Why do so many classical-label sound engineers insist on using 24 mics, tons of EQ, compression, limiting, reverb and so forth, thereby butchering the sound?

Maybe if you were recording for any of the major classical labels you'd know...
Old 2nd June 2014
  #928
Deleted User
Guest
Quote:
Originally Posted by classical View Post
Funny, we humans hear just fine with only two ears.
Microphones are not ears. There is nothing human about them.
Old 2nd June 2014
  #929
Deleted User
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Quote:
Originally Posted by DaveyJones View Post
Maybe if you were recording for any of the major classical labels you'd know...
Old 2nd June 2014
  #930
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boojum's Avatar
Quote:
Originally Posted by classical View Post
Funny, we humans hear just fine with only two ears.
Ah, if it were only that simple.
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