The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Tags: , , ,

CM3 - really THAT good? Condenser Microphones
Old 28th August 2016
  #1381
Gear Head
 

THANK you guys I will check CM3 next week i think that cm3 will suit my needs.

Thx again Cheers
Old 29th August 2016
  #1382
Gear Head
 

Thank you all.. ;)

Thanks all!

I´ll buy a pair on friday and record some music
Old 2nd September 2016
  #1383
Gear Nut
 

Quote:
Originally Posted by voltronic View Post
I don't have the CMEH, but for my CM3s I found them to be very vibration-sensitive, so I decided to go the Rycote lyre route. Because of their very light weight, I thought the standard lyres used in the INV mounts would be too stiff, and special ordered two pair of the softer 042255 62-shore lyres, using them to make a set of DIY mounts (one shown below). They do the job extremely well.

I also wanted to share that SRS Recording Services / Shapeways continues to make new mounts for the CM3, in arrangements I've not seen elsewhere. I've been using their Wide ORTF mount (also shown below) recently for ensemble recording and really like the sound - the SRA is a bit wider than the CM3 in DIN, and I find it most useful in places where I need to be a bit closer.

Are these Audio Connect cables with Neutrik connectors?
Old 2nd September 2016
  #1384
Lives for gear
 
Pohaku's Avatar
 

Probably custom cables made by one of the resident cable builders over at taperssection. The two most prominent are

Ted: Login

Rob: Login

Great stuff and well worth the purchase. I have cables from both. Ted recently built me a tech flexed power cable for my F8 with a right angle Hirose connector. Works like a charm.
Old 2nd September 2016
  #1385
Gear Addict
 
voltronic's Avatar
 

Quote:
Originally Posted by Pohaku View Post
Probably custom cables made by one of the resident cable builders over at taperssection. The two most prominent are

Ted: Login

Rob: Login

Great stuff and well worth the purchase. I have cables from both. Ted recently built me a tech flexed power cable for my F8 with a right angle Hirose connector. Works like a charm.
You got it - they are custom cables from Ted (GAKables) on Taperssection (account required to view). He also makes cables for Telefunken, but with standard ends only, no customization of other aspects, and they are more expensive than what you get on the TS sales page, even with custom options added. The T-funk cables are otherwise the same.

I have two sets of 25' snaked pairs with chopped / angled ends and offset lengths on the male / recorder end. Mine are also a bit more custom than normal in that I asked for everything to be "blacked out" as far as full techflex, black heatshrink, black Neutrik XLRs and black epoxy. The cable itself has a white Teflon wrapping so the appearance from a distance is a dull gray, nice and unobtrusive. More pics here.

Image attachments appear to be broken at the moment?
Old 2nd September 2016
  #1386
Gear Nut
 

Many thanks, both of you, for such detailed information!
Old 3rd September 2016
  #1387
Lives for gear
 
scorpix74's Avatar
I'm finally going to try a pair
What bar should I get for XY?
Old 3rd September 2016
  #1388
Lives for gear
 
hbphotoav's Avatar
 

Quote:
Originally Posted by scorpix74 View Post
I'm finally going to try a pair
What bar should I get for XY?
You may find the pattern ("sub-cardioid") a bit too wide for X/Y... but try it anyway... I use the K&M "articulated" stereo bar for X/Y, ORTF, and NOS.

K&M 23510 Adjustable Stereo Microphone Bar | Sweetwater.com

Cheers!

HB
Old 3rd September 2016
  #1389
Lives for gear
 
scorpix74's Avatar
Quote:
Originally Posted by hbphotoav View Post
You may find the pattern ("sub-cardioid") a bit too wide for X/Y... but try it anyway... I use the K&M "articulated" stereo bar for X/Y, ORTF, and NOS.

K&M 23510 Adjustable Stereo Microphone Bar | Sweetwater.com

Cheers!

HB
Thank you!

Does anyone remember the ones made by 3D printer?
Old 3rd September 2016
  #1390
Gear Addict
 
voltronic's Avatar
 

Quote:
Originally Posted by scorpix74 View Post
Thank you!

Does anyone remember the ones made by 3D printer?
Custom Microphone Clips by SRSRecordingServices - Shapeways Shops
Products tagged: line audio - Shapeways 3D Printing

The one I have is the Wide ORTF. (And before anyone feels the need to point it out again, I'm fully aware this is not true ORTF and neither is it supposed to be.) That's the only one they make for the CM3 that doesn't have the vertical piece in the center, allowing a horizontally-mounted shockmount to hold it.
Old 6th September 2016
  #1391
Gear Head
 

I've been thinking about ordering one of those. I will primarily be recording wind ensembles and orchestras. Any thoughts about which configuration would be more appropriate between the NOS and the wide ORTF?
Old 6th September 2016
  #1392
Quote:
Originally Posted by unklejman View Post
I've been thinking about ordering one of those. I will primarily be recording wind ensembles and orchestras. Any thoughts about which configuration would be more appropriate between the NOS and the wide ORTF?
At the prices, 60 for both made sense to me.
Old 6th September 2016
  #1393
Gear Head
 

Quote:
Originally Posted by TMetzinger View Post
At the prices, 60 for both made sense to me.
I agree. However, I still have to choose one to try out first. It will take a while to test them as these concerts don't happen all that often, and I only get one shot per concert.
Old 7th September 2016
  #1394
Gear Addict
 

I'd go wide ortf
Old 7th September 2016
  #1395
Quote:
Originally Posted by unklejman View Post
I agree. However, I still have to choose one to try out first. It will take a while to test them as these concerts don't happen all that often, and I only get one shot per concert.
<joke> What's the matter with you? Buy another pair of CM3s!! That way you can record ONE performance with the only difference being the positioning of the pair. Science!</joke>

<joke> Oh wait! Don't buy CM3s, they only have a three-digit price tag. I mean, if you can't afford four-digit microphones, then why even bother? </joke>
Old 7th September 2016
  #1396
Gear Head
 

Quote:
Originally Posted by TMetzinger View Post
<joke> What's the matter with you? Buy another pair of CM3s!! That way you can record ONE performance with the only difference being the positioning of the pair. Science!</joke>

<joke> Oh wait! Don't buy CM3s, they only have a three-digit price tag. I mean, if you can't afford four-digit microphones, then why even bother? </joke>

I actually recorded the last concert with a set of KM84s. I just hated the anxiety that comes from borrowing those mics from my recording buddy.
Old 7th September 2016
  #1397
Lives for gear
Quote:
Originally Posted by grawk View Post
I'd go wide ortf
Is that 'wide' in angle...or 'wide' in distance between mic heads (or both)....and what numbers might apply to each here ?
Old 7th September 2016
  #1398
Gear Head
 

Quote:
Originally Posted by studer58 View Post
Quote:
Originally Posted by grawk View Post
I'd go wide ortf
Is that 'wide' in angle...or 'wide' in distance between mic heads (or both)....and what numbers might apply to each here ?
Wider spacing I believe. 21.5cm, rather than 17cm. Still at 110 degrees.
Old 7th September 2016
  #1399
Gear Addict
 
voltronic's Avatar
 

Quote:
Originally Posted by unklejman View Post
Wider spacing I believe. 21.5cm, rather than 17cm. Still at 110 degrees.
Yes. And I've never even seen that proposed anywhere else but on SRS / Shapeways. They do custom orders, so it could be something that a customer suggested to them. There's a lengthy thread on TapersSection that the manufacturer is active on. Check out some of the most recent posts for interesting combo mounts for Schoeps actives that were custom requests.

The "Wide ORTF" of 21.5 cm / 110° yields a wider SRA of about 120° (total), versus subcards in NOS at about 100°. These numbers vary a bit depending on which SRA calculator you're using which is why I'm giving rough figures (here we go with that again).

I find the "Wide ORTF" useful for when I'm recording a bit closer, as in directly behind / over the conductor. I'm not sure that I like it better than NOS yet, but it does sound different. I haven't gotten to do a direct comparison, nor have I tried that setup backed away a bit as I have done with my CM3s in NOS many times. Still needs more experimentation.
Old 22nd September 2016
  #1400
Lives for gear
Aha...the Return of the Thread that never goes Away !

Here's Eric Whitacre's "Cloudburst", recorded last week with a pair of CM3's in NOS... plus a pair of wide outrigger KM183's.

Don't be tempted to turn up the volume in the 'quieter parts before the storm' Preamps were a Mackie VLZ1402, via inserts as line outs.
Attached Files

Cloudburst.mp3 (12.19 MB, 1747 views)

Old 22nd September 2016
  #1401
Gear Maniac
 

Quote:
Originally Posted by studer58 View Post
Here's Eric Whitacre's "Cloudburst", recorded last week with a pair of CM3's in NOS... plus a pair of wide outrigger KM183's.
Do you know the source of both the HF hum and the RF? Because of the unbalanced feed?
Old 22nd September 2016
  #1402
Gear Addict
 
dariva's Avatar
I liked the overall sound, but the noise is a little distracting. However, I am a studio rat and only have a vague idea how unpredictable remote recording can be (did work as a mixer and a boom operator a long time ago).

I haven't seen the recording through an analyzer, but it sounds like noise from the lighting, and possibly some hum creeping up from the mixer? But I guess you'd clean it up a bit, before sending it to the client, and the version here is unprocessed so that we could here the clean mic sound?

I hope we are not hearing the CM3's inherent noise (on the account that they need more drive, from what I read here)?

Last edited by dariva; 22nd September 2016 at 07:44 PM..
Old 23rd September 2016
  #1403
Gear Addict
 
voltronic's Avatar
 

Hi Studer, thanks for posting this.

I have to agree about the noise being really distracting. A bit of RX should clean it up nicely though. If you don't have the program, I'd be happy to run it through for you if you PM me the uncompressed version.

I put a moment of silence through RX's spectral analyzer, and the HF whine is at 7999 Hz (see screenshot) if that helps track down the culprit.

Would you mind posting the CM3s alone? I'm curious as to how they imaged by themselves, and why you chose to use the omni flanks.
Attached Thumbnails
CM3 - really THAT good?-cloudburstnoise.jpg  
Old 23rd September 2016
  #1404
Thanks for posting this, Studer. I like it a lot, even with the whine. Great performance.
Old 23rd September 2016
  #1405
Lives for gear
Quote:
Originally Posted by dariva View Post
I liked the overall sound, but the noise is a little distracting. However, I am a studio rat and only have a vague idea how unpredictable remote recording can be (did work as a mixer and a boom operator a long time ago).

I haven't seen the recording through an analyzer, but it sounds like noise from the lighting, and possibly some hum creeping up from the mixer? But I guess you'd clean it up a bit, before sending it to the client, and the version here is unprocessed so that we could here the clean mic sound?

I hope we are not hearing the CM3's inherent noise (on the account that they need more drive, from what I read here)?
Yes it's lighting noise, and the audio chain before it reached my mixer is long and convoluted (it has already passed through another mixer on the way to mine ) and I'm also not entirely sure that the CM3 is immune either..so many variables to consider. The outriggers took a different path entirely, until they hit my mixer, so it's not surprising that they are clean.
Old 23rd September 2016
  #1406
Lives for gear
Quote:
Originally Posted by voltronic View Post
Hi Studer, thanks for posting this.

I have to agree about the noise being really distracting. A bit of RX should clean it up nicely though. If you don't have the program, I'd be happy to run it through for you if you PM me the uncompressed version.

I put a moment of silence through RX's spectral analyzer, and the HF whine is at 7999 Hz (see screenshot) if that helps track down the culprit.

Would you mind posting the CM3s alone? I'm curious as to how they imaged by themselves, and why you chose to use the omni flanks.
Thank you voltronic, I appreciate your offer as I don't have Rx ....the Wavelab equivalent just doesn't have that ability to clean up as surgically as Rx.

I'll post the CM3's alone soon too..the omni flanks were to give a bit of width, although perhaps not needed as the ensemble filled the stage fully left to right...I feared the CM3's might remove some of the 'air' however, so the flankers were aimed at retaining some of that.
Old 23rd September 2016
  #1407
Lives for gear
 
jpgerard's Avatar
The CM3 is pretty good when it comes to Shielding. It's one piece of Aluminum. If your cabling is sound, meaning continuity of shield is not compromise, the CM3 will do pretty good, certainly on a par with everything else up to high output mics like certain DPA's and such. Output is true balanced: unlike some condensers out there today (still!) Pin 3 is not just tied to Ground via a capacitor. The output is properly balanced with signal on both pins. The output of the CM3 is typically not a problem but again - large amounts of interference and poor cabling (including shielding so grounding is important, don't forget that most portable gear have a virtual Earth with no connection to physical ground!) can lead to noise present within the signal. In that case, if better cabling is not possible, a little signal booster right at the butt of the CM3 does wonders.
Old 23rd September 2016
  #1408
Lives for gear
Quote:
Originally Posted by voltronic View Post
Hi Studer, thanks for posting this.

I have to agree about the noise being really distracting. A bit of RX should clean it up nicely though. If you don't have the program, I'd be happy to run it through for you if you PM me the uncompressed version.

I put a moment of silence through RX's spectral analyzer, and the HF whine is at 7999 Hz (see screenshot) if that helps track down the culprit.

Would you mind posting the CM3s alone? I'm curious as to how they imaged by themselves, and why you chose to use the omni flanks.
I've attached here the CM3 only pair, and in addition added a very steep notch filter at 7999 Hz as you suggested (the lighting hum and RF breakthrough is left unaddressed though) The CM3's alone are quite respectable...they still render the space and ambience very well !

Incidentally the RX Plug-In pack is on offer during Sept for $99, with 4 modules: De Click, De Clip, De Hum and Dialogue De Noise, but I'm sure this is basically an Essentials kit, without the power of the regular RX Audio Editor facilities for $249...or the Advanced version for even more $ ?
Attached Files
Old 23rd September 2016
  #1409
Lives for gear
Quote:
Originally Posted by jpgerard View Post
The CM3 is pretty good when it comes to Shielding. It's one piece of Aluminum. If your cabling is sound, meaning continuity of shield is not compromise, the CM3 will do pretty good, certainly on a par with everything else up to high output mics like certain DPA's and such. Output is true balanced: unlike some condensers out there today (still!) Pin 3 is not just tied to Ground via a capacitor. The output is properly balanced with signal on both pins. The output of the CM3 is typically not a problem but again - large amounts of interference and poor cabling (including shielding so grounding is important, don't forget that most portable gear have a virtual Earth with no connection to physical ground!) can lead to noise present within the signal. In that case, if better cabling is not possible, a little signal booster right at the butt of the CM3 does wonders.
I'm sure you're right JP, I suspect the ancient in-house cabling has some corrosion or integrity problem, as the RF has been noticed before in the same place with other mics as well. I'll run some cable checks !
Old 23rd September 2016
  #1410
Lives for gear
 
jpgerard's Avatar
And if it is actual RFI, it could be really hard to work around it. Strong RFI can be a real pain especially using today's portable gear... good luck with the troubleshooting!
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
Plugin / So much gear, so little time
10
adclark / Low End Theory
31
hollywood_steve / The Good News Channel
0

Forum Jump
Forum Jump