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CM3 - really THAT good? Condenser Microphones
Old 2 weeks ago
  #1921
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Quote:
Originally Posted by drumfool View Post
Here's a shootout I did including the CM3 recording a vibraphone at my home studio. Enjoy!

YouTube
I thought the A-T had a noticeable lack of HF shine compared with the Rode/Joly and CM3....or perhaps the Rode is artificially bright...but then this is quite a close miking experiment. There was a brief segment where the upper bass of the CM3 bloomed more fully than the other mics.

An interesting experiment. While the Rode/Joly initially caught my attention for its detail, I wonder if this wouldn't become fatiguing in the longer term ?
Old 2 weeks ago
  #1922
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rojaros's Avatar
Quote:
Originally Posted by drumfool View Post
Here's a shootout I did including the CM3 recording a vibraphone at my home studio. Enjoy!

YouTube
Very enjoyable shooutout.
Without knowing exactly why I liked the AT4050 best on this. It sounded more 'mysterious', less flat to me. Liked the NT5 least. Can't give a rational reason for it.
Old 2 weeks ago
  #1923
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Quote:
Originally Posted by rojaros View Post
Very enjoyable shooutout.
Without knowing exactly why I liked the AT4050 best on this. It sounded more 'mysterious', less flat to me. Liked the NT5 least. Can't give a rational reason for it.
My feeling also. The CM-3's did sound nice, with noticeably more room due to their slightly wider pickup pattern.
Old 2 weeks ago
  #1924
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jimjazzdad's Avatar
I'm in the AT4050 camp as well. I could live with the CM3 very easily and the small size could be a game changer in some situations.Thank you for the great shoot out
Old 2 weeks ago
  #1925
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mljung's Avatar
Quote:
Originally Posted by drumfool View Post
I tried to get everything as close together as possible:

https://scontent-sjc3-1.xx.fbcdn.net...0c&oe=5CDC1DE3
Interesting I usually find coincident X-Y to be flat and boring. Same here, but I'm still surprised that the different microphones rendered spaciousness so differently. I'm aware of the slight differences in polar patterns, but even so.

A subjective PS: It may not be important, but the technique using 'almost coincident' X-Y where the left-side mic points to the right and vice-versa (and at the same time block some of the microphones 'recording view') has always seemed somewhat wrong to me, they should ideally be on top of each-other.

::
Mads
Old 2 weeks ago
  #1926
Here for the gear
 

Quote:
Originally Posted by mljung View Post
Interesting I usually find coincident X-Y to be flat and boring. Same here, but I'm still surprised that the different microphones rendered spaciousness so differently. I'm aware of the slight differences in polar patterns, but even so.

A subjective PS: It may not be important, but the technique using 'almost coincident' X-Y where the left-side mic points to the right and vice-versa (and at the same time block some of the microphones 'recording view') has always seemed somewhat wrong to me, they should ideally be on top of each-other.
Thanks for the note on the XY setup. I agree that XY is usually less interesting than a spaced pair. This seemed like the easiest way to set up the shootout for some reason.
Old 2 weeks ago
  #1927
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jpgerard's Avatar
Quote:
Originally Posted by drumfool View Post
I tried to get everything as close together as possible:

https://scontent-sjc3-1.xx.fbcdn.net...0c&oe=5CDC1DE3
Thanks for the photo, it explains a lot! Should you do it again, if so many mics are bundled together, you might want to position them much further from the source, doing this will reduce the effect of proximity placement. Obviously, looking at your photo, the CM3's and Rodes cannot reproduce the same source as they're capturing totally different parts of the instrument as such a short distance. Interesting experiment of course but I'll bet that if you put one Rode where the Rode pairs is and one Rode where the CM3's are, you'll get radically tones too. Another way to do this would be to swap the mics so that we get two files where the pairs are reversed so that we can judge how much impact placement had. Those shootouts are always a headache aren't they
Old 1 week ago
  #1928
Here for the gear
 

Quote:
Originally Posted by jpgerard View Post
Thanks for the photo, it explains a lot! Should you do it again, if so many mics are bundled together, you might want to position them much further from the source, doing this will reduce the effect of proximity placement. Obviously, looking at your photo, the CM3's and Rodes cannot reproduce the same source as they're capturing totally different parts of the instrument as such a short distance. Interesting experiment of course but I'll bet that if you put one Rode where the Rode pairs is and one Rode where the CM3's are, you'll get radically tones too. Another way to do this would be to swap the mics so that we get two files where the pairs are reversed so that we can judge how much impact placement had. Those shootouts are always a headache aren't they
FWIW, I think the forced perspective of the photo makes it seem like the mics are pointed at completely different parts of the instrument. At the middle where the mics are, the instrument is a little over 22” wide (front to back) and the mic array is about 6” deep altogether. The 4050’s are straddling the mid line separating the white keys from the black keys with the NT5’s and CM3’s just over either the white or black keys. I think if the placement in this case was cause for the difference in sound, what you really would notice is either the accidentals popping out of the sound for the CM3’s or the white keys for the NT5’s.

Next time I’ll switch some things around like you suggested to make sure that placement isn’t affecting the results.

Again, thanks for listening and I hope this was somewhat useful in comparing the CM3’s with two different mics.
Old 5 days ago
  #1929
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Quote:
Originally Posted by jimjazzdad View Post
I'm in the AT4050 camp as well. I could live with the CM3 very easily and the small size could be a game changer in some situations.Thank you for the great shoot out

Just have to be careful not to mistake them on cables in the dark for cables that already had their mics removed. Though it only happens once.

Don't ask how I know.
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