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OM1 - What's it about? Condenser Microphones
Old 1st July 2013
  #91
Gear Head
 

It's actually coming direct from the tape - no changes to original sound at all. Just converted from 24/44.1 to mp3. The location is not so large, but with a very present reverb and a lot of strong reflections. It's maby 25 meters long, 10m wide and 15m high, modern stone, stone floor but happily woden ceiling in the form of an arch. It gives to the cold stone a bit of the warmth. Just had to be very patient with the placement. Thanks to the color of these beautiful microphones I could come pretty close to the cellist to minimize the influence of the reverb.
Happy you like it - hope the cellist will share your feelings
Greetings, M
Old 1st July 2013
  #92
Gear nut
 

Quote:
Originally Posted by Stradivariusz View Post
Recently I've done a recording of Bach's cello suites.
Had an opoortunity to use these lovely mics with DAV BG1 preamp going into the RME Multiface I.
Here comes a sample of this session.
Many hugs,
Marcin
I love Bach, but this has a bit too much "hissy" and noisy presence
to it. I prefer a bit of a closer miked sound as well.

But I'm wondering: I'm on the waiting list for the CM3, but besides
the obvious difference in pickup pattern, what would be the
argument for me to get the OM1 instead?
Old 1st July 2013
  #93
Gear Head
 

I set CM3 as well, but have missed the low end of the omnis. The hiss is coming mainly from the instrument itself and the cellist hiss way of playing. It was quite cold and humid what made this effect even stronger. I didn't come closer because this is the sound I wanted - with a certainl sence of distance but still with a lot of detail. What of course also helped to diminish the impact of the reverb was not so wide separation between the microphones.
Old 1st July 2013
  #94
Lives for gear
 
jpgerard's Avatar
Goes to show that taking some time to place the mics is rewarding! Well done.
Old 2nd July 2013
  #95
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Quote:
Originally Posted by Paul678 View Post
I love Bach, but this has a bit too much "hissy" and noisy presence
to it. I prefer a bit of a closer miked sound as well.

But I'm wondering: I'm on the waiting list for the CM3, but besides
the obvious difference in pickup pattern, what would be the
argument for me to get the OM1 instead?
The OM1 is a little hotter and has a better low end.

But I like my KSM-141 a bit more for most applications.
Old 2nd July 2013
  #96
Gear nut
 

Quote:
Originally Posted by polytope View Post
The OM1 is a little hotter and has a better low end.

But I like my KSM-141 a bit more for most applications.
Ok the KSM141s are another mic that I see people recommending
a lot too.

So you prefer the 141 to both the OM1 and the CM3 as well?
For what kind of recording? I'm looking for acoustic guitar,
and acoustic piano recording.

The 141s are more expensive than the CM3s.....
Old 2nd July 2013
  #97
Lives for gear
 
king2070lplaya's Avatar
Quote:
Originally Posted by Paul678 View Post
Ok the KSM141s are another mic that I see people recommending
a lot too.

So you prefer the 141 to both the OM1 and the CM3 as well?
For what kind of recording? I'm looking for acoustic guitar,
and acoustic piano recording.

The 141s are more expensive than the CM3s.....
I'm my experience the cm3 has a bit of a softer sound to it, softer transient response.

I'd say the ksm141 is objectively the "better mic", but often the cm3s sound is more appropriate for what I'm looking for, like as a supporting spot mic, or to tame brash cymbals, or on a tinny piano, or an acoustic guitar that is either played or sounds too thin/scratchy, stuff like that. I love it as a spot mic for horns in front of a jazz group, because I can have them a bit closer to avoid too much bleed from the drums and other horns, and still have a balanced sound between the source and room.... So for me, it's the perfect pairing with my 141s! Hard to say one is better than the other really.... Do you want an open cardioid or a card/omni combo? Do you want to spend 300 or 800 on the pair? Though the Shures do go for very attractive prices on the used market ;-)
Old 4th July 2013
  #98
Lives for gear
 

I currently have a pair of KSM141's and in 4 - 8 days I'll have a pair of CM3's and a pair of OM1's. I'm excited to try them out and compare them. I'll also be running them through a DAV BG-1 and Duet 2 (for the conversion). Unfortunately it may be awhile before a really good space is available to record in. However, if I pull off something decent, I'll share it.

I'll mainly be recording classical guitar in the coming month. I'll be experimenting a lot with stereo patterns and mic placement but I would love to hear any success stories anyone has had with classical guitar and these microphones. It will give me a pool of ideas to draw from if I get stuck.
Old 4th July 2013
  #99
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boojum's Avatar
 

Thread Starter
I'll be happy to listen to your tests. I am sure many others will, too. Thanks for the effort.
Old 11th October 2013
  #100
Gear Head
Short jazz sample

Here's a short jazz piano sample - "Between the devil and the deep blue sea" after Ellis Larkins. I played in a nice hall on a medium sized Grotrian-Steinweg. Two OM1s in nearfield (ca. 1m from the soundboard) with rather small spacing (maybe around 40cm... should have brought my meter with me )
Attached Files
Old 11th October 2013
  #101
Gear Head
And here's some Bach. From the same session.
Attached Files

bach aria.mp3 (6.78 MB, 2507 views)

Old 12th October 2013
  #102
Lives for gear
 
boojum's Avatar
 

Thread Starter
Nicely played. Nicely recorded. Thanks. Those OM1's are major bargains.
Old 28th October 2013
  #103
Thumbs up

A track from yesterday's live recording in a small chapel in Antwerp.
2x OM-1 straight into Tascam US-2000, USB to DAW, no post-processing at all.
AB c.85cm, violin mic 30cm higher than piano mic and closer to the violinist than the piano mic to the piano to keep a natural balance. See photo below.
I had no time to check setup, I only did a quick "loud chord" test to set levels.

https://dl.dropboxusercontent.com/u/...sight%2001.wav

First time I am using these little microphones, but I am actually very impressed with how they sound and how they respond.


Last edited by apotheosis; 28th October 2013 at 10:26 AM.. Reason: no photo and no link...
Old 28th October 2013
  #104
Lives for gear
 
mljung's Avatar
Quote:
Originally Posted by apotheosis View Post
A track from yesterday's live recording in a small chapel in Antwerp.
2x OM-1 straight into Tascam US-2000, USB to DAW, no post-processing at all.
AB c.85cm, violin mic 30cm higher than piano mic and closer to the violinist than the piano mic to the piano to keep a natural balance. See photo below.
I had no time to check setup, I only did a quick "loud chord" test to set levels.

https://dl.dropboxusercontent.com/u/...sight%2001.wav

First time I am using these little microphones, but I am actually very impressed with how they sound and how they respond.

Mono..?

::
Mads
Old 28th October 2013
  #105
Quote:
Originally Posted by mljung View Post
Mono..?

::
Mads
Thanks for listening, indeed, something went wrong when exporting.
New file will be online in couple of minutes on the same link.
Cheers
Old 28th October 2013
  #106
Gear Head
 

My OM1 contribution, a small baroque organ in the Czech Republic, recorded with a Microtrack II, a piece of the final participant's concert, just meant as memory..
http://soundcloud.com/mahru/jghjfd

I didn't had a stand and so the mics just lay on the altar(!) It's a surprisingly good recording IMHO taking into account that this position is very very far from the organ, located on a very high gallery - the dome did a quite good focussing down, you get an impression here

(the altar is even more forefront!)
Úterý (CZ)
http://osbart.wz.cz/
Old 28th October 2013
  #107
Lives for gear
 
boojum's Avatar
 

Thread Starter
Yes, those OM1's are amazing mics. Good recording. I have an organ recital on the 2nd to record so you have put me on notice.
Old 28th October 2013
  #108
Gear Head
 

Good luck then as it sometimes can get hard in the US with its dry church acoustics and not always that interesting organs. (just my opinion ).
Have to correct my placement statement above. Now I remember the mics were about 1 m above the altar, a bit hidden in a painting/sculpture, so there are quite a few timbral differences thereof, spacing about 40cm IIRC.
The most fascinating thing there (besides the wonderful organ gem of course) was the acoustics, i never heared a dome focussing for that long distances (remember the OM1 is a free field mic, no eq added..).
A wonderful sounding Principal 4' here: http://soundcloud.com/mahru/tghdfh

edit: the balance was a bit off center, I corrected it to some degree..
Old 17th November 2013
  #109
OM1's on virginals

Recorded a nice recital on double virginal today, after some demo sessions yesterday.
OM1 in AB 35cm (slightly angled outwards), about 60cm above the sounding part of the strings in a small pretty chapel. I had a pair of ORTF SM81's set up for the pieces where only the "child"-spinnet was used, mixed in at -9dB (just to center them enough in the stereo field and to give them more clarity, which works pretty good), but on the recording below both "mother and child" are coupled, so only the omnis were in use.

https://dl.dropboxusercontent.com/u/...0VIRGINAAL.wav
Attached Thumbnails
OM1 - What's it about?-2013-11-16-15.58.50-2.jpg  
Old 18th November 2013
  #110
Lives for gear
 
boojum's Avatar
 

Thread Starter
Quote:
Originally Posted by apotheosis View Post
Recorded a nice recital on double virginal today, after some demo sessions yesterday.
OM1 in AB 35cm (slightly angled outwards), about 60cm above the sounding part of the strings in a small pretty chapel. I had a pair of ORTF SM81's set up for the pieces where only the "child"-spinnet was used, mixed in at -9dB (just to center them enough in the stereo field and to give them more clarity, which works pretty good), but on the recording below both "mother and child" are coupled, so only the omnis were in use.

https://dl.dropboxusercontent.com/u/...0VIRGINAAL.wav
Hard to beat LineAudio and NoHypeAudio, at that price point. Nice playing, nice recording. I hope Jean-Paul Gerard is listening.
Old 18th November 2013
  #111
Lives for gear
 
jpgerard's Avatar
I follow these threads, yes - always good to hear Line Audio's at work! Well done, Apotheosis.
Old 18th November 2013
  #112
Gear Addict
 

Quote:
Originally Posted by apotheosis View Post
.....about 60cm above the sounding part of the strings in a small pretty chapel.[/url]
Seemed from the photo more like 6 feet than 60cm?
Enjoyed the recording - nicely clear and detailed. A bit too close and wide for my personal taste, though. There was a slight disparity between the intimacy of the recording and the reverberant nature of the hall applause.
Old 30th November 2013
  #113
Quote:
Originally Posted by Tom McC View Post
Seemed from the photo more like 6 feet than 60cm?
Enjoyed the recording - nicely clear and detailed. A bit too close and wide for my personal taste, though. There was a slight disparity between the intimacy of the recording and the reverberant nature of the hall applause.
You are right, about 6 feet -- I simply wrote what I did as a first setup, but I changed the distance during the balance tests.
This was to both the player and my own taste the best compromise between church reverb and direct sound, which is not straight-forward with this type of instrument. It projects quite aggressively and resonates at the same time, so going too far away would lose too much detail, and going too close brings the attack too much into focus. But that's about taste of course. Anyway, the setup was done for the recording of a demo project the day before the concert, so no need for applaus there -- I simply left the mic's where they were.
Happy you like it anyway!
Old 20th December 2013
  #114
Very nice, lifelike recording. Sounds,like the OM1s have low noise too. Excellent mics, don't need to buy a U87!
Old 20th December 2013
  #115
Gear Addict
 
fred2bern's Avatar
 

I have both OM-1s and U87ais and for me there is nothing to compare...both are great but for different applications.
Old 20th December 2013
  #116
Gear Guru
 
John Willett's Avatar
 

Quote:
Originally Posted by classical View Post
Very nice, lifelike recording. Sounds,like the OM1s have low noise too. Excellent mics, don't need to buy a U87!
LOL

You can't compare chalk with cheese.

One is a small diaphragm pure pressure omni mic.

The other is a large diaphragm switchable-pattern mic.

Different tools for different jobs.
Old 21st December 2013
  #117
Gear Maniac
 
ForgottenG's Avatar
 

I just got a pair of OM1's and I love them. I have used them on Grand pianos, acoustic guitars, upright bass, and today, overheads for a rock drummer. each time they have sounded clear and accurate. I'm thinking of adding another pair to my collection.
Old 21st December 2013
  #118
I have a pair and I use them mainly as ambience mikes on live recordings. I tried them inside the drum kit (I mean literally, between kick drum and floor tom) and they can't handle it unfortunately (they were distorting on louder hits). But good value anyway, they are light, small, not expensive and sound good, what more can I ask for?
Old 31st December 2013
  #119
I just bought a pair of OM1s, and here are my impressions:

It's a bit longer than the Little Blondies, of which I own two also.

The fit and finish are very nice. The chrome set screw (the only non-black markings on the mic besides the white printing) isn't glued in, so if you want to disassemble the mic, I suppose you can (but don't because of the warranty). No wear marks on the screw-head slots.

When I plug the mics in and turn up the preamp gain full blast, I hear only hiss, and no popping or crackling sounds at all. This is good, because I had some bad experiences buying another brand of popular mics and I found popping and crackling noises every few seconds (bad capacitors inside, maybe) that would tend to go away if you plug in and leave on for a few hours. I have found this too with an old integrated amp's phono input - the amp hadn't been plugged into wall power for years, so I suspect aged-related bugs with capacitors).

The equivalent noise at 18 dBA seems about right. The noise sounds a little louder than the Rode NT5s I used to own, which are rated at 16 dBA. The noise level seems low enough for far-field acoustic instruments in a quiet room, but of course it's not going to be the 6 dBA of a Rode NT1A, for instance.

The opening for the diaphragm is smaller than the smallest outer diameter you see from the side view because there's an outer lip at the front.

I was worried that the small tip might mean that bass would suffer, for SDC mikes tend to be bass shy. But so far it's not the case. I get the impression that the bass is there, just as the flat freq. response graph suggests. It sounds like relative flatness from lows to highs. I'm impressed so far, for I have tended to use LDC mikes for location recording to ensure I capture the full spectrum of sound from lows to highs, but it appears I will get it all with the OM1. A tip of the hat to the designer for making a mic specifically for acoustic far field miking. In stereo listening tests, what comes out of the mike sounds very similar indeed to what goes into it, no major coloration it seems. It's a rich, full sound that is completely lacking in brightness, crispness, harshness and other bugs related to higher frequencies. It doesn't sizzle head-on, and it doesn't sizzle off-axis. Low frequencies are rich and full, like a nice LDC mike. Going from the front to the back on a stereo setup results in a sound attenuation of maybe 3 or 4 db in my estimation, not much of an attenuation, and the sound character in back is similar indeed to that in front. No phasy-sounding bass like you get with some cardiod LDC mikes. Just a slight loss in presence in the higher frequencies. Ok, so you're wondering what the downside to the sound is. Well, if I had to guess, it's lacking in high-frequency emphasis, and those used to same may say that this mike is warm and soft sounding in timbre. I think it's just neutral. The OM1 doesn't compress the dynamics of the sound, another surprising thing, since I have found that many SDC cardioids compress the dynamics of the sound as well reduce the liquidity of the sound.

From listening to GS clips of the OM1 versus CM3, I hear relative bass-shyness from the CM3 and this corresponds the latter's frequency response graph. This is why I bought the OM1; I wanted flat response, with no bass-shyness at far-field miking.

If you want a bright sound to liven up your recordings, this is NOT the mike for you. It's not bright, raunchy or anything like that. As mentioned, I get the impression of neutrality, which is why I bought it, and it's advertised as such.

The XLR pins are gold plated. All three pins are the same size (the Rode mics of mine have one pin longer - I think it's pin 1, if memory serves, so that ground is contacted first).

The sizing of the holes for the XLR seem to be within tolerance and identical to each other, so I didn't encounter a problem connecting the female XLRs on my cables.

Some of you may be wondering which is better, the OM1 or the Little Blondie. If I ever get the chance, I'll post a sound clip or two and you can decide for yourself. But I found clear sound-quality differences. Also, the noise floor of the OM1 is lower than the Little Blondie. I suppose having a longer body means you can stuff more, lower-noise electronics inside?

When the mics are hooked up and on, when you touch the mic with your fingers,there's no hum noise generated.

The grill at the front is fabric, not metal, and because it's inset slightly, dropping the mics on the tip should not harm the grill at all (unless you drop it on something pointy).

The mikes have some weight, and feel solid, not hollow.

The black paint is flat, not glossy.

When listening to near-field tests on the OM1 versus CM3 on Gearslutz, you have to take into account proximity effect on the latter, and the flat response at 0.3m and bass-shyness at 1m. Moreoever, many recordings are done with the mics way up in the air, and this naturally reduces bass, and one can wrongly conclude that a mike is bass-shy.

It comes with a snap-on mike mount. I prefer spring-loaded alligator ones, since I worry that snapping a mike into a snap mount may cause shock-induced damage. Better safe than sorry, I feel. Oh, and while I'm nitpicking on details, I'll pass along this tip I read somewhere: With a mike locker, case or whatever your mikes are in, close and open gently, so that you don't get a sudden pulse of high or low pressure that can damage a mike's diaphragm. For instance, the box top for the Rode NT1A fits very snugly, and air doesn't escape easily when putting the box top on the base.

If I had to summarize my opinion in a few sentences, I'd say this is a class-act, pro-quality mike that rates a 5/5 with regard to price, and 4/5 without. If I could only buy one pair of omnis and had a $300 budget, my search is over.

Enough for now, I'll have more info as I do more recordings. Cheers!

Last edited by classical; 2nd January 2014 at 04:45 AM.. Reason: Update on Sound Quality Evaluation
Old 31st December 2013
  #120
Lives for gear
 

Quote:
Originally Posted by classical View Post
I just bought a pair of OM1s, and here are my impressions:

It's a bit longer than the Little Blondies, of which I own two also.

The fit and finish are very nice. The chrome set screw (the only non-black markings on the mic besides the white printing) isn't glued in, so if you want to disassemble the mic, I suppose you can (but don't because of the warranty). No wear marks on the screw-head slots.

When I plug the mics in and turn up the gain full blast, I hear only hiss, and no popping or crackling sounds at all. This is good, because I had some bad experiences buying another brand of popular mics and I found popping and crackling noises every few seconds (bad capacitors inside, maybe) that would tend to go away if you plug in and leave on for a few hours. I have found this too with an old integrated amp's phono input - the amp hadn't been plugged into wall power for years, so I suspect aged-related bugs with capacitors).

The equivalent noise at 18 dBA seems about right. It sounds a little louder than the Rode NT5s I used to own, which are rated at 16 dBA. The noise level seems low enough for far-field acoustic instruments in a quiet room, but of course it's not going to be the 6 dBA of a Rode NT1A, for instance.

The opening for the diaphragm is smaller than the smallest outer diameter you see from the side view because there's an outer lip at the front.

I was worried that the small tip might mean that bass would suffer, for SDC mikes tend to be bass shy. But so far it seems to be not the case. I get the impression that the bass is there, just as the flat freq. response graph suggests. I get the impression of relative flatness from lows to highs. I'm impressed so far, for I have tended to use LDC mikes for location recording to capture the full spectrum of sound from lows to highs, but it appears I will get it all with the OM1. A tip of the hat to the designer for making a mic specifically for acoustic far field miking. In stereo listening tests, what comes out of the mike sounds very similar indeed to what goes into it, no major coloration it seems. So far I am pleased. Going from front to back results in a sound attenuation of maybe 5 to 7 db in my estimation, not quite a halving of volume, but certainly not a zero db loss either.

From listening to GS clips of the OM1 versus CM3, I hear relative bass-shyness from the CM3 and this corresponds the latter's frequency response graph. This is why I bought the OM1; I wanted flat response, with no bass-shyness at far-field miking.

If you want a bright sound to liven up your recordings, this does not appear to be the mike for you. It's not bright, raunchy or anything like that. As mentioned, I get the impression of neutrality, which is why I bought it.

The XLR pins are gold plated. All three pins are the same size (the Rode mics I have have one pin longer - I think it's pin 1, if memory serves, so that ground is contacted first).

The sizing of the holes for the XLR seem to be within tolerance and identical to each other, so I didn't encounter a problem connecting the female XLRs on my cables.

Some of you may be wondering which is better, the OM1 or the Little Blondie. If I ever get the chance, I'll post a sound clip or two and you can decide for yourself. But I found clear sound-quality differences.

When the mics are hooked up and on, when you touch the mic with your fingers,there's no hum noise generated.

The grill at the front is fabric, not metal, and because it's inset slightly, dropping the mics on the tip should not harm the grill at all (unless you drop it on something pointy).

The mikes have some weight, and feel solid, not hollow.

The black paint is flat, not glossy.

When listening to near-field tests on the OM1 versus CM3, you have to take into account proximity effect on the latter, and the flat response at 0.3m and bass-shyness at 1m.

Enough for now, I'll have more info as I do field recordings. Cheers!
Very informative.

In theory, the size of the diaphragm should not determine the bass response,
but rather, the polar pattern and overall design of the mic.
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