The No.1 Website for Pro Audio
Superlux s502
Old 4 weeks ago
  #391
Lives for gear
Quote:
Originally Posted by jimjazzdad View Post
It certainly isn't even as tidy as the original and the housing looks 'cheap' by comparison...
Yes, I can't see what those strips of foam are for, if everything is tightened down by screws, incl the circuit board.

I wonder if most of the claimed improvement simply comes from a capsule of better spec than the original...or perhaps tighter component tolerances... and better soldering of the circuit board ?

Last edited by studer58; 4 weeks ago at 04:46 PM..
Old 4 weeks ago
  #392
Lives for gear
Quote:
Originally Posted by jimjazzdad View Post
Very polished video - I'm sure the small footprint of your mics was appreciated by the camera operators. The S502 is impressive for its price point. But, if we could only get the Line Audio to build two CM4 in an single ORTF unit...
Yes the mic and stand are barely noticeable, even in the distant shots. HD and 4K cameras plus reasonably good lighting help a lot with the sharpness these days !

Regarding the Line Audio/ORTF idea...better still, to harness the versatility of retaining your 2 individual CM4's... as well as the ability to make an ORTF as circumstances dictate....how about simply an ORTF outer cradle/shell to create the correct angle and mic spacing, into which your two CM4's are slid in, and then locked in place when the other half of the outer shell of the ORTF housing is added on top, and twist-clamped in place.

If the outer ORTF shell also had 2 female xlr connectors into which the 3 pins of each CM4 mated, you'd have additional connection security for the mics. Each of those 2 integral xlr-f connectors would be wired to a 5 pin xlr-m socket, similar to the Superlux.

Some sort of locking /threaded twist collar at each outer edge of the 3 'branches' of the mic would hold the two halves of the ORTF outer shell firmly together....and keep the mics snug and rattle-free also.

A shell like this could be designed and sold for not much money, since apart from the aluminium shell casting, the only electricals would be thin (twisted) cabling from the pair of 3 pin xlr connectors to the 5 pin xlr output

For mic safety and travel ruggedness I think aluminium would be the best outer shell material...perhaps 3D printed or moulded plastic could work also, although it would afford no RF screening.

Last edited by studer58; 4 weeks ago at 04:56 PM..
Old 4 weeks ago
  #393
Gear Addict
 

Quote:
Originally Posted by studer58 View Post
...how about simply an ORTF outer cradle/shell to create the correct angle and mic spacing, into which your two CM4's are slid in...
Isn't this largely answered by one of the various existing ORTF Shapeways 3d-printed clips for 20mm mics? Or are the CM4s just too short? At 77mm long overall (plus XLR) I'd be surprised.

Cheers,

Roland
Old 4 weeks ago
  #394
Lives for gear
Quote:
Originally Posted by norfolksoundman9 View Post
Isn't this largely answered by one of the various existing ORTF Shapeways 3d-printed clips for 20mm mics? Or are the CM4s just too short? At 77mm long overall (plus XLR) I'd be surprised.

Cheers,

Roland
Yes the Shapeways template mounts would achieve it I'm sure..they would be tailor made to fit the ORTF spec.

My shell idea simply makes the whole assembly a bit more rugged, with perhaps some additional RF screening via enclosing the mics...but it would also carry a slight weight penalty too.

The shell idea might also look a bit more elegant than the Shapeways clip...and conceivably cost about the same or a little less than the 3D printed unit. ?
Old 4 weeks ago
  #395
DAH
Lives for gear
 
DAH's Avatar
I have come to conclusion that I rather prefer discrete schemes rather than chips no matter the thd and noise specs are. Anyone able to give a heads up on whats inside the amp both in the old and new models? Though, the Chinese "QC" turns me off. In many other products as well.
Old 3 weeks ago
  #396
Lives for gear
https://vimeo.com/368654961

Superlux S502 (original version) only, stand and mic visible in a few shots, but generally not too distracting for cameras or audience. A spot mic on voice might have helped...or not ?
Old 3 weeks ago
  #397
Lives for gear
 
fred2bern's Avatar
Quote:
Originally Posted by studer58 View Post
https://vimeo.com/368654961A spot mic on voice might have helped...or not ?
A matter of taste but in this case I don't need more soprano...
Old 3 weeks ago
  #398
Lives for gear
Quote:
Originally Posted by fred2bern View Post
A matter of taste but in this case I don't need more soprano...
Yes, you're right....perhaps the continuo organ and also the bass could have used some spot reinforcement ?
Old 3 weeks ago
  #399
Lives for gear
 
fred2bern's Avatar
Quote:
Originally Posted by studer58 View Post
Yes, you're right....perhaps the continuo organ and also the bass could have used some spot reinforcement ?
What I hear is too much trumpet in the 502,it doesn't sound "natural" for a recording because it's not well balanced, but I'm sure it sounded like this in the church...
In the tutti you see but almost can't hear the 1st violins when they play with the trumpet...

One option is to move back the trumpet (of course it's a joke, no way to take him out of the team) so yes, spots... and you're in one of these live recordings when your own mutli mic balance sounds better than what the audience payed for...
Old 3 weeks ago
  #400
Lives for gear
Yes, the audience heard as much if not more of the trumpet as the main pair does...since even off axis it dominated hugely within the reverberant zone of the cathedral !

You can't really put a Harmon mute on a natural trumpet, or move him back to the choir stalls, so for those 5 mins out of 19, we have to accept the imbalance.

Deedeeyeah might have had a PA system solution here...but in a cathedral, I have my doubts
Old 2 weeks ago
  #401
Lives for gear
PA in a Cathedral can sound dire
I was recording in Gloucester when there was a requirement for a recorded Tolling Bell (plenty in the Bell Tower!)
They bought in a 10K rig which had the raw power but the coloured spill filled the Nave and sounded most unnatural on my recording.
I think the Superlux 502 does a fine job for its 100 quid price...
Mine went back to Thomman for a rewire ,haven't used it since, though did try gagging it for exterior use but its just too clunky for a Rycote.
Old 4 days ago
  #402
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
Forum Jump
Forum Jump