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CM3 - really THAT good? Condenser Microphones
Old 14th September 2018
  #1831
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hbphotoav's Avatar
 

Quote:
Originally Posted by 2manyrocks View Post
A little less Schantz and a little more mariachi would liven things up....
Ahhhhhh... you know that room...



HB
Old 18th September 2018
  #1832
Gear Nut
 

pair of CM3s for vocals

I usually press my CM3s into service as a main pair for large choral pieces, but recently I tried them in front of a delightful vocal ensemble in a cozy and dry venue. CM3s were in "wide" ORTF (110*, 21.5cm capsule spacing). The performers' preferences for positioning and venue constraints put them rather close to the microphones.

The final mix of this trio's performance included NR and EQ to remove HVAC and traffic, reverb, and a pair of C414's on the piano. Here is only the CM3s with no processing whatsoever other than levels adjustment and dithering.
Attached Files

trio.mp3 (3.18 MB, 1253 views)

Old 18th September 2018
  #1833
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rojaros's Avatar
I think this is a very respectable mic performance ... I'm not missing anything, given it is a live recording!
Old 19th September 2018
  #1834
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Quote:
Originally Posted by DrReid View Post
I usually press my CM3s into service as a main pair for large choral pieces, but recently I tried them in front of a delightful vocal ensemble in a cozy and dry venue. CM3s were in "wide" ORTF (110*, 21.5cm capsule spacing). The performers' preferences for positioning and venue constraints put them rather close to the microphones.

The final mix of this trio's performance included NR and EQ to remove HVAC and traffic, reverb, and a pair of C414's on the piano. Here is only the CM3s with no processing whatsoever other than levels adjustment and dithering.
A nice recording, renders all the detail outlined in your description
Old 3 weeks ago
  #1835
Here for the gear
 

Sharing a recent recording

Hello all!

I'm a recent poster, but a long time reader. I've perused this forum for the last two years, learning everything I can about location recording; what equipment is good, techniques, mic placement, etc. This was done in preparation for recording one of my groups, and as an opportunity to learn something new. Tonight I'd like to share one of my recordings as a result of all of this research. I particularly paid attention to the array's used by Boojum/Norman, as they seemed to offer an ideal solution that offers maximum flexibility.

I'm placing it here, because it utilizes the Line Audio CM3. They were used as mains, specifically in a NOS formation, with a pair of Rode NT5 with omni capsules flanking them on a bar at 67 cm. The whole setup was about 10 feet back from the conductor's podium, 10 feet over the stage. They were mixed with the CM3's about 2db lower than the Rodes. This sounded best to my ears in this situation. I think they compliment each other quite well. The ambient sound is 95% the actual room, with a slight enhancement from convolution reverb to help smooth out the tail.

I'm sharing this mostly as a thank you to everyone on this forum, extremely knowledgeable all, and a well of information from which to learn. I'd love to hear thoughts on this track. Please keep in mind that it is a high school wind band performing this piece, so the performance can be a little shaky at times.

Thank you all!

PS: I tried to upload the file, but perhaps it's too large, as it continuously failed. I am instead linking to my Google Drive. Hopefully this works better.

Galante_Beyond_the_Horizon.mp3 - Google Drive
Old 3 weeks ago
  #1836
Anyone any views on the CM3 as a close mic for things like acoustic guitar? I shot mine out with a KM84 on acoustic (15” from body join, strummed and fingerpicked) and the KM84 sounded way better in that application. Thinking of selling my pair of CM3s now.
Old 3 weeks ago
  #1837
Gear Maniac
 

Quote:
Originally Posted by Hermetech Mastering View Post
Anyone any views on the CM3 as a close mic for things like acoustic guitar? I shot mine out with a KM84 on acoustic (15” from body join, strummed and fingerpicked) and the KM84 sounded way better in that application. Thinking of selling my pair of CM3s now.
Further up in the thread there are some recordings and video of a classical guitarist using a CM-3 and he seemed quite happy with it.

As an aside, I've started using my CM-3 in live sound applications on small stages. I was apprehensive about feedback and bleed on a small stage since these are "semi-wide" cardioids, but they have performed very well. A few weekends ago I used them for a series of concerts I do every year that features uilleann pipers. The drones are always difficult to mic on stage since they're a moving target and there are three drones of varying length -- you have to keep some distance to get a representative sound, and supercardiod or hypercardioid mics tend to pick up one drone more than the others. The CM-3 was the perfect tool for this and I got the best drone sound I've had in 10+ years of doing these concerts.

I also used it for the chanter for the first half of one concert, but switched to a Sennheiser 8050 in the second half, which worked better -- the sound quality was comparable but I wanted less bleed from the regulators (the keys that uilleann pipers hit with their wrist while playing melody on the chanter).
Old 3 weeks ago
  #1838
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jpgerard's Avatar
The CM3 was never meant to replace the KM84. The KM84 is flat way down under 100Hz, there's no proximity compensation until you hit the really low end. The top of the 84 is also slightly, slightly forward where it sounds nice (I know, very technical terms here whereas the CM3 is aiming for ruler flat top end past the air band. I always felt that the 184 was a closer sound compared to the CM3 although I still prefer the top end of the CM3 unless a top lift is desired. At longer distances, the 184 becomes interesting. At short distances the 84 can get boomy, while the CM3 doesn't. The CM3 is wider than either Neumanns so shootouts are difficult, as the sweet spot id different... All in all I do miss my 84's and 85's but never felt I'd miss a 184 with a CM3. If an 84 is required, you need to use an 84. A CM3 can't be a direct sub. But if you start from scratch, a CM3, positioned properly, will sound more natural and true than an 84. Not that it's better: I love the 84 tone. But the CM3 can be more "transparent" which can be good or bad, depending on the project. As we all know, the U89 and TLM170 or 193 are all superior to the U87 but the U87 is still everyone's (OK, most people's) favourite for Rock vocals... "better" is very subjective. I have a lot of customers who own Neumanns and other higher priced SDC's and yet prefer their CM3's on some sources, in some settings. Different tools, that's all.
Old 3 weeks ago
  #1839
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jpgerard's Avatar
Quote:
Originally Posted by bradh View Post
Further up in the thread there are some recordings and video of a classical guitarist using a CM-3 and he seemed quite happy with it.

As an aside, I've started using my CM-3 in live sound applications on small stages...
I know, right? I had the same exact feeling yet I started to get customers using it on stage and raving about it. Key is the HF response control, I think. There aren't any untamed peaks in the top end, so it's actually difficult to trigger feedback unless you have a real mess of a room and stage monitors setup. Also, stage volumes are WAY lower these days, thank goodness for that... so feedback is not as big an issue as it used to be. Then you have potentially more directional FOH loudspeakers and better processing clamping feedback loops and the human factor is also important: we don't just slap a smiley curve EQ on the mains anymore. Engineers tend to be more efficient and flexible, at least some of them!
Old 2 weeks ago
  #1840
Gear Maniac
 

Quote:
Originally Posted by jpgerard View Post
Also, stage volumes are WAY lower these days, thank goodness for that... so feedback is not as big an issue as it used to be. Then you have potentially more directional FOH loudspeakers and better processing clamping feedback loops and the human factor is also important: we don't just slap a smiley curve EQ on the mains anymore. Engineers tend to be more efficient and flexible, at least some of them!
In my case, when I do live sound I'm only doing it for acoustic music and only for solo players, duos, or small groups (4-6 people max). I often don't use monitors at all if performers can hear each other well on stage. And either no EQ on the main outs or else I run a room-tuning test with pink noise and a measurement mic and let the mixer's room-tuning tool set the EQ of the main outs (which usually results in very minor EQ adjustments). For many instruments I apply no EQ except for high pass/low cut. Super simple,and the sound is great...the key is good mics, the right mics for the instrument (or voice), and good placement. Sometimes it just takes a lot of trial and error to find the right mic for the instrument, and in this case the CM-3 was the right choice for what I needed.
Old 2 weeks ago
  #1841
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James Lehmann's Avatar
 

Quote:
Originally Posted by Hermetech Mastering View Post
Thinking of selling my pair of CM3s now.
PM me if you do - I might be interested in a pair.
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