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OM1 - What's it about? Condenser Microphones
Old 21st May 2018
  #421
Lives for gear
Quote:
Originally Posted by studer58 View Post
Lovely sound...maybe the articulation 'runs away' a little bit in the big acoustic, was it a very large stone church or cathedral perhaps ?
Yes, big old church with big acoustic.
But I recorded many times this organ with cardios (MC930) and I really prefer what i hear this time with omnis.
Yes with the cardios, the articulation is clearer, but the balance between the different registers of the organ is not so good. The cardios exagerate the difference between the positiv and the great organ.
Then nothing replace the fullness of the sound with omnis
Old 22nd May 2018
  #422
Lives for gear
Quote:
Originally Posted by mathieujm View Post
Yes, big old church with big acoustic.
But I recorded many times this organ with cardios (MC930) and I really prefer what i hear this time with omnis.
Yes with the cardios, the articulation is clearer, but the balance between the different registers of the organ is not so good. The cardios exagerate the difference between the positiv and the great organ.
Then nothing replace the fullness of the sound with omnis
Yes I fully agree with your choice...you lose too much with cardioids in this situation, while the omnis really transport my ears to the church itself ! Bravo
Old 22nd May 2018
  #423
Gear Nut
 
Peter Allison's Avatar
Quote:
Originally Posted by studer58 View Post
Lovely sound...maybe the articulation 'runs away' a little bit in the big acoustic, was it a very large stone church or cathedral perhaps ?

its a cathedral, organs are meant to sound a bit "washy"..... could be worse, St. Pauls in London?

Last edited by Peter Allison; 24th May 2018 at 01:30 PM..
Old 3 weeks ago
  #424
Here for the gear
 

Figured I'd post a couple of examples I've recorded with the OM1's. These are all from student recitals and I am by no means an experienced engineer, just learning as I go.

The first track is from a Brass Trio with Trumpet, Horn, and Trombone. I set up OM1's in a spaced pair(either 30cm or 60cm, can't remember which though) and a set of NT5s in the center in ORTF. I am almost positive this is just the OM1s, but if the NT5s are there it's less than 10% for sure. Mics placed center of ensemble and about a foot above the musicians(they were sitting down) this wasn't intentional but they ended up getting lowered and I didn't notice before the recital started. Worked well on this track, not so much for the solo trombone stuff with the mic right in front of the bell.

The second track is Trombone, Cello, and Piano from the same recital. Same mic setup as before with the mics in the center, the trombone to the right, cello to the left, and piano behind the cello with the opening of the lid facing the center of the mic array.

The third track is of a Brass sextet. The set up was two OM1s in 60cm spaced pair, and two CM3s in a wide ORTF. CM3's were maybe 20% of the mix, MAYBE. Mics placed about 5 feet in front of the ensemble and about 5 feet above.

Side note: there was no sound check for the first two clips and barely a sound check for the last clip. No reverb or anything else has been added to the clips. There is a little EQ to try to tame the crazy HVAC in this hall. I think I tamed the upper frequencies, but not much more could be done about the lower frequencies without altering the tone of the trombone sound. Really wish we could turn that thing off for recording!

OM1 Clips
Old 3 weeks ago
  #425
Quote:
Originally Posted by matthewharris065 View Post
There is a little EQ to try to tame the crazy HVAC in this hall. I think I tamed the upper frequencies, but not much more could be done about the lower frequencies without altering the tone of the trombone sound. Really wish we could turn that thing off for recording!
Thanks for sharing these clips. For fun, I applied a rather quick and cursory denoising to the Böhme Sextet using RX6, focusing on reducing only the broadband "noisy" components (i.e. as opposed to "tonal" noise) by about 8dB. Some of the most subtle nuances which decay into the ambience are smoothed over along with the HVAC being reduced, but I could imagine this treatment of your original (non-EQ'ed) recording to sound substantially cleaner. Sometimes I add a very small amount of carefully selected reverb to compensate for a little bit of the air being sucked out. It's not perfect, but I often find a subtle dose (most likely milder than this) more palatable than remedial EQ when the latter is negatively impacting desirable program material.

Dropbox - 3 Boehme Sextet RX.wav

Obviously, as you implied, an even better solution to iZotope RX is the much less aggressively marketed "iZotope If-At-All-Possible-Disengage-The-Building-HVAC-System"
Old 3 weeks ago
  #426
Here for the gear
 

Quote:
Originally Posted by lukedamrosch View Post
Thanks for sharing these clips. For fun, I applied a rather quick and cursory denoising to the Böhme Sextet using RX6, focusing on reducing only the broadband "noisy" components (i.e. as opposed to "tonal" noise) by about 8dB. Some of the most subtle nuances which decay into the ambience are smoothed over along with the HVAC being reduced, but I could imagine this treatment of your original (non-EQ'ed) recording to sound substantially cleaner. Sometimes I add a very small amount of carefully selected reverb to compensate for a little bit of the air being sucked out. It's not perfect, but I often find a subtle dose (most likely milder than this) more palatable than remedial EQ when the latter is negatively impacting desirable program material.

Dropbox - 3 Boehme Sextet RX.wav

Obviously, as you implied, an even better solution to iZotope RX is the much less aggressively marketed "iZotope If-At-All-Possible-Disengage-The-Building-HVAC-System"
Thanks man, I don't have RX6 yet but I will play around with the original a bit more with what I do have now that I hear that a difference definitely CAN be made without quality really suffering. Like I said, still learning the ropes. I'm in college for music and the campus has a concert hall and a recital hall. I have done pretty well recording in the concert hall which has little noise but everything done in the recital hall has made me work to get decent results. I swear it's gotten worse sine a year ago. Used to be a low rumble and now there is a steady hiss in the high frequencies. It's bad enough that people notice in person at a live performance. I guess it's a good lab environment though for me to figure things out.

Thanks again.
Old 1 week ago
  #427
Lives for gear
 
jpgerard's Avatar
Given the circumstances, I'd say it went well... sometimes location recording is like that... you do your best before the event and cross your fingers.

Quote:
Originally Posted by matthewharris065 View Post
Figured I'd post a couple of examples I've recorded with the OM1's. These are all from student recitals and I am by no means an experienced engineer, just learning as I go.

The first track is from a Brass Trio with Trumpet, Horn, and Trombone. I set up OM1's in a spaced pair(either 30cm or 60cm, can't remember which though) and a set of NT5s in the center in ORTF. I am almost positive this is just the OM1s, but if the NT5s are there it's less than 10% for sure. Mics placed center of ensemble and about a foot above the musicians(they were sitting down) this wasn't intentional but they ended up getting lowered and I didn't notice before the recital started. Worked well on this track, not so much for the solo trombone stuff with the mic right in front of the bell.

The second track is Trombone, Cello, and Piano from the same recital. Same mic setup as before with the mics in the center, the trombone to the right, cello to the left, and piano behind the cello with the opening of the lid facing the center of the mic array.

The third track is of a Brass sextet. The set up was two OM1s in 60cm spaced pair, and two CM3s in a wide ORTF. CM3's were maybe 20% of the mix, MAYBE. Mics placed about 5 feet in front of the ensemble and about 5 feet above.

Side note: there was no sound check for the first two clips and barely a sound check for the last clip. No reverb or anything else has been added to the clips. There is a little EQ to try to tame the crazy HVAC in this hall. I think I tamed the upper frequencies, but not much more could be done about the lower frequencies without altering the tone of the trombone sound. Really wish we could turn that thing off for recording!

OM1 Clips
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