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Best DIYless AKG C12 Clone
Old 27th September 2015
  #31
Gear Maniac
 
Rachel Victoria's Avatar
@ kidvybes I do understand that microphone characteristics vary, even between 2 mics of the same model. I also know that capsule tuning and voicing are paramount, however I disagree about not being able to attribute a sonic signature to a certain microphone model - one you have heard a few of the same model there are noticeable commonalities which help you build up a picture of its general characteristics (or flaws).

I know there are a lot of mic comparison videos on youtube, but I found this this one, including the C12, which is really well put together:



I do not think a C12 clone will be a disappointing endeavor. I plan to use it on acoustic instruments e.g. grand piano, guitar, and drum overheads, not on vocals. I have lots of other LDC, dynamic, and ribbon mics which I feel take care of vocals nicely. It is interesting you mention the 251 as a better vocal mic. I absolutely agree that the ELAM 251 sound really suits certain vocalists a lot better than the C12 even though they are both AKG manufactured, have the same capsule, and even pretty much the same transformer.

I found another possibility in the Wunder Audio C12 via this video:



I've added this to the list in post #3 along with the 3U Warbler MKIII, JJ Audio C12 Dutch, Micshop MS-12, and the O.P.R C12
I'm fairly confident this covers almost every AKG C12 clone.
Old 27th September 2015
  #32
Lives for gear
 

I shouldn't have watched this, now I want a C12...

Quote:
Originally Posted by Rachel Victoria View Post

Old 27th September 2015
  #33
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by Rachel Victoria View Post
@ kidvybes I do understand that microphone characteristics vary, even between 2 mics of the same model. I also know that capsule tuning and voicing are paramount, however I disagree about not being able to attribute a sonic signature to a certain microphone model - one you have heard a few of the same model there are noticeable commonalities which help you build up a picture of its general characteristics (or flaws).

I do not think a C12 clone will be a disappointing endeavor. I plan to use it on acoustic instruments e.g. grand piano, guitar, and drum overheads, not on vocals. I have lots of other LDC, dynamic, and ribbon mics which I feel take care of vocals nicely. It is interesting you mention the 251 as a better vocal mic. I absolutely agree that the ELAM 251 sound really suits certain vocalists a lot better than the C12 even though they are both AKG manufactured, have the same capsule, and even pretty much the same transformer.

I found another possibility in the Wunder Audio C12 via this video:

I've added this to the list in post #3 along with the 3U Warbler MKIII, JJ Audio C12 Dutch, Micshop MS-12, and the O.P.R C12
I'm fairly confident this covers almost every AKG C12 clone.
Of course there's a sonic profile for the AKG C12 mic...my point was that within that profile there is variation among the well maintained originals that is a bit broader than some of the other classics...that said, generally clones shoot for some mid-ground in that modest range of variation...even among the more reputable clones (Tele, Wunder, Flea, RSM, etc), if you compared them side-to-side, you would hear some variation...

I can tell you very confidently, if you want a mic that stands on sonic ground in the class of those high-end branded clones, without spending exorbitant amounts of money, simply keep Shannon Rhoades in the equation...whether you send him two Stellar CM-5s ($830 a pair) or build a pair of Mata-Chung clones (around $2600 a pair sans capsules), Shannon will bring those mics well within the sonic signature of the best C12 options short of an original set...he is the one constant in the clone equation that should not be overlooked, at any price-point...his capsule voicing, particularly with edge-terminated capsules, like the CK12, is absolutely brilliant!...
Old 27th September 2015
  #34
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by kidvybes View Post
Of course there's a sonic profile for the AKG C12 mic...my point was that within that profile there is variation among the well maintained originals that is a bit broader than some of the other classics...that said, generally clones shoot for some mid-ground in that modest range of variation...even among the more reputable clones (Tele, Wunder, Flea, RSM, etc), if you compared them side-to-side, you would hear some variation...

I can tell you very confidently, if you want a mic that stands on sonic ground in the class of those high-end branded clones, without spending exorbitant amounts of money, simply keep Shannon Rhoades in the equation...whether you send him two Stellar CM-5s ($830 a pair) or build a pair of Mata-Chung clones (around $2600 a pair sans capsules), Shannon will bring those mics well within the sonic signature of the best C12 options short of an original set...he is the one constant in the clone equation that should not be overlooked, at any price-point...his capsule voicing, particularly with edge-terminated capsules, like the CK12, is absolutely brilliant!...
Thank You for you advice kidvybes. I have found one more C12 clone option in the VM-212 from Saturn Sound, which I will add to the list in post #3 . I think surely completes the list of all commercial or DIY kit based C12 clones available right now. There is also some very interesting information on the Saturn Sound here What about the AKG C24
It suggests the C12 "magical" properties come from grid biasing rather than components. (I'm not sure what "grid biasing" actually is??)
Old 27th September 2015
  #35
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kidvybes's Avatar
 

Quote:
Originally Posted by Rachel Victoria View Post
It suggests the C12 "magical" properties come from grid biasing rather than components. (I'm not sure what "grid biasing" actually is??)
...there are two basic methods of biasing (current to the tube): fixed biasing and cathode biasing..."grid bias" is another name for fixed-bias (which is, contrary to the name, adjustable)...fixed biasing means the tube is biased by means of a DC voltage, which is usually a negative voltage applied to the grid of the tube with respect to the tube's cathode...the Mata-Chung and Poctop C12 kits employ this type of biasing in their PSUs, I believe...these websites explain biasing it in some depth:

https://idealinnovations.biz/biastubes.htm
What Is Biasing?
Old 27th September 2015
  #36
Gear Maniac
 

AA CM12se

Hi Rachel, I suggest you checkout our CM12se or CM251.

They were used for vocals on 3 or 4 tracks on the new Jill Scott record, Woman.

We also make a solid state version called the CM414.

E-mail me at [email protected] if you have any questions.

I included a pic of our microphone being used on the vocal track of Pitch Perfect.

Joseph Magee the supervision Music mixer for Sony Pictures used several of our microphones on the sound track for Pitch Perfect and Pitch Perfect II Hollywood Blockbusters.

Cheers, Dave Thomas
aamicrophones.com



Quote:
Originally Posted by Rachel Victoria View Post
Hi

I'm looking to buy 2 AKG C12 Clones. Can anybody recommend any good clones or similar mics to the original C12 (not the C12 VR) that don't require any serious DIY. Thanks
Attached Thumbnails
Best DIYless AKG C12 Clone-pp-ii-mics.jpg  
Old 28th September 2015
  #37
Lives for gear
 

That's not what the OP asked, but I feel like to write my considerations anyway. I've read hundreds of topics regarding clones, from microphones to analog synthesizers. At the end, I can have only one opinion: no clone can get you the sound of the original. I know original hardware is expensive, but if that's what you want, that's what you have to buy. Nobody has been able to reproduce something technically simple as a TB-303, just because our technology has changed. I don't want to digress and evaluate whether our technology has changed for the better or not, but the undisputable point is our technology has changed. If you want the sound of something that has been made 30, 40, 50 or 60 years ago, you just have to get that object. All the rest is just clones, they may be close as much as you want to the original but they'll never be the same.
To me, you have 2 choices: get the original or look forward and get something "modern" and adapted to your intended use. All the "this is very close to the original" babbles are more and more meaningless to me. Nothing is going to be like the original and every clone is just going to be a compromise. If you want the C12 sound, get a C12. If you don't want to spend so much you can consider (if history serves) that it's very probable in 50 years somebody will want that X brand 2015 magic microphone, get out and find it!
I'm quite aware my ramblings are going to find harsh critics here on GS, but what I wrote came from my (limited) experience and it's my honest opinion. I never used a C12, but a video as the one posted above was enough for me to understand the C12 has something other microphones do not. I was for instance baffled by a video on youtube comparing a Rode NT1 to a Neumann U47. The idea of the producer of that video was most probably to show how close those 2 microphones were. Well, after watching that video I understood a NT1 is nowhere close to a U47, and we are talking about the audio quality of a YT video here! I'm quite sure comparaison between a C12 and its clones would bring similar results. Those similar results would probably depend most of all on the C12 used. Getting back to the TB-303, I used 5 different units many years ago. After so many years, if I had in front of me the same 5 units, I'm sure I could still tell which one was which. That's to say old gear is often showing big differencies between units. After I saw the video posted above, I just wanted a C12. Well, some months ago I listened to a very good singer recorded with a C12 (I may be wrong, but the studio pictures were showing a C12) and I thought "what a bad mic"!!! That's just to say, how do you compare a clone to an original made 60 years ago to a clone? You just can't, unless you tried at least 5 units.
My background is economics, therefore I can't avoid to put in this kind of discussion an economical evaluation too. AKG built the original C12, therefore AKG has the knowledge to build it. If the production of a C12 capsule would be as cheap as implied by the price of the clones, wouldn't you think AKG would produce them again, considering they could sell tose microphones well above 5K USD?
Also, some microphones the OP mentioned have a price close to the price of a C12, why not just get a C12 at that point?

Disclaimer: I'm drunk, but "In vino veritas"
Old 28th September 2015
  #38
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by JEK3 View Post
That's not what the OP asked, but I feel like to write my considerations anyway. I've read hundreds of topics regarding clones, from microphones to analog synthesizers. At the end, I can have only one opinion: no clone can get you the sound of the original. I know original hardware is expensive, but if that's what you want, that's what you have to buy. Nobody has been able to reproduce something technically simple as a TB-303, just because our technology has changed. I don't want to digress and evaluate whether our technology has changed for the better or not, but the undisputable point is our technology has changed. If you want the sound of something that has been made 30, 40, 50 or 60 years ago, you just have to get that object. All the rest is just clones, they may be close as much as you want to the original but they'll never be the same.
To me, you have 2 choices: get the original or look forward and get something "modern" and adapted to your intended use. All the "this is very close to the original" babbles are more and more meaningless to me. Nothing is going to be like the original and every clone is just going to be a compromise. If you want the C12 sound, get a C12. If you don't want to spend so much you can consider (if history serves) that it's very probable in 50 years somebody will want that X brand 2015 magic microphone, get out and find it!
I'm quite aware my ramblings are going to find harsh critics here on GS, but what I wrote came from my (limited) experience and it's my honest opinion. I never used a C12, but a video as the one posted above was enough for me to understand the C12 has something other microphones do not. I was for instance baffled by a video on youtube comparing a Rode NT1 to a Neumann U47. The idea of the producer of that video was most probably to show how close those 2 microphones were. Well, after watching that video I understood a NT1 is nowhere close to a U47, and we are talking about the audio quality of a YT video here! I'm quite sure comparaison between a C12 and its clones would bring similar results. Those similar results would probably depend most of all on the C12 used. Getting back to the TB-303, I used 5 different units many years ago. After so many years, if I had in front of me the same 5 units, I'm sure I could still tell which one was which. That's to say old gear is often showing big differencies between units. After I saw the video posted above, I just wanted a C12. Well, some months ago I listened to a very good singer recorded with a C12 (I may be wrong, but the studio pictures were showing a C12) and I thought "what a bad mic"!!! That's just to say, how do you compare a clone to an original made 60 years ago to a clone? You just can't, unless you tried at least 5 units.
My background is economics, therefore I can't avoid to put in this kind of discussion an economical evaluation too. AKG built the original C12, therefore AKG has the knowledge to build it. If the production of a C12 capsule would be as cheap as implied by the price of the clones, wouldn't you think AKG would produce them again, considering they could sell tose microphones well above 5K USD?
Also, some microphones the OP mentioned have a price close to the price of a C12, why not just get a C12 at that point?

Disclaimer: I'm drunk, but "In vino veritas"
None of the cloned C12 mics in my list have a price close to the price of an original C12, maybe close to a C12 VR, but not a C. The three most expensive C12 clones i know of are the Wunder Audio CM12 ($6995) , FLEA 12 ($3765), and Micshop MS-12 ($4995) and none of these come close to the $12k+ needed for a real C12
Old 28th September 2015
  #39
Gear Nut
Quote:
Originally Posted by Rachel Victoria View Post
The $99 price is suspicious to say the least. Can a $99 capsule really be anywhere near as good as the $400+ ones by Beesneez, Tim Campbell, and Eric Heiserman? Sounds too good to be true.
And yet you have more big name musicians and large studios using his Mics. You know the people that actually make a living using Mics as tools.

Have you ever seen a drummer tune a drumhead? Those drum heads like the capsule membranes are Mylar. The capsules have gold sputtered on them. Turn those screws till you get the proper output. You can pay someone $400 or $100 to do that.
Nobody has super special brass or super special Mylar. Just marketing from the hobby lobby.
Old 28th September 2015
  #40
Lives for gear
 

Quote:
Originally Posted by Rachel Victoria View Post
None of the cloned C12 mics in my list have a price close to the price of an original C12, maybe close to a C12 VR, but not a C. The three most expensive C12 clones available are the Wunder Audio CM12 ($6995) , FLEA 12 ($3765), and Micshop MS-12 ($4995) and none of these comecllose to the $12k+ needed for a real C12
I apologize, I wrongly assumed the C12 was around 8-9k USD. I now saw units selling for for much more than that.
Old 28th September 2015
  #41
Quote:
Originally Posted by Rachel Victoria View Post
Thanks for your reply, but I'm not after a more modern sound. I have a lot of other mics for that sound. I really want to get as close as the AKG C12 as possible.


The first thing I want to do is choose a great capsule. I've been looking at capsules online and have found these clones of the original C12 capsule (apologies if i have missed any):



Thanks
Rachel
Since we've not been mentioned, we do in fact build a C12 mic with our own CK12 capsule.

TELEFUNKEN-ELEKTROAKUSTIK.COM | TELEFUNKEN Elektroakustik

The CK12 is handmade here in our facility, and unavailable in any other clone or DIY product. All machining and metalwork is also unique to our mic, everything built from the ground up in small batches here. No shortcuts, no expenses spared.
Old 28th September 2015
  #42
Lives for gear
 
MadGuitrst's Avatar
I was going to mention TELEFUNKEN Elektroakustik.

Honestly, not because your C12 mics are the best, or not that they aren't, but if someone really wants as close as can be to originals I think they're it.

Personally, I think I would either:
1. Take the quote that KidV got for you (he knows mics as well as anyone)
2. Pay the extra money for peace of mind of the TELEFUNKEN Elektroakustik
3. Consider different mics for overheads, something clean and neutral.

Personally, based on your desires, if it we me, I'd take the mics from KidV's quote.

In your case, for your peace of mind, I think you should go TELEFUNKEN Elektroakustik, if you can swing the price and if you can't stop over analyzing.

Looking at the mics in your studio profile, I'd say you could benefit from a couple of really good vocal mics first....a 251 type first, a U47 type, 269 or U67 type, etc.
You could get some clean mics, like the SHure KSM44 for overheads.

FWIW, I have settled on three Beeesneez mics as my mains: Arabella (with T-Funk tube), Phelicity voiced to a 251, and a James....which though lowest priced, is the best for my voice.
I have a bunch of others, but I have no need to change again.

Good luck.....don't drive yourself crazy, Rachel.
Old 28th September 2015
  #43
No intention by the way of taking anything away from other great options brought up in this thread, many factors to consider!
Old 28th September 2015
  #44
Old 28th September 2015
  #45
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by Drummercat View Post
And yet you have more big name musicians and large studios using his Mics. You know the people that actually make a living using Mics as tools.

Have you ever seen a drummer tune a drumhead? Those drum heads like the capsule membranes are Mylar. The capsules have gold sputtered on them. Turn those screws till you get the proper output. You can pay someone $400 or $100 to do that.
Nobody has super special brass or super special Mylar. Just marketing from the hobby lobby.
When I stated the $99 price was "suspicious", I was not questioning its quality or relative performance, merely pointing out the fact that it is a lot cheaper than the other C12 Capsule Clones which tend to be in the $200-$400 range.

I know most drumheads are made of mylar, and I have tuned mylar drumheads but to be honest I don't know why you are talking about tuning drumheads in relation to microphones. I don't understand your analogy at all.
Old 28th September 2015
  #46
Gear Nut
Sorry I didn't mean to imply you were. The drum tuning analogy was to show a similar process so you realize the $400 per capsule is more sales than substance. If you haven't, you really should check out who is using the Mics. I just read his 12 mic was being used on Elvis Costello's new cd. Check out the upper right corner of the main page.
I'm just trying to help, I have absolutely no skin in this.
Old 28th September 2015
  #47
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by Drummercat View Post
Sorry I didn't mean to imply you were. The drum tuning analogy was to show a similar process so you realize the $400 per capsule is more sales than substance. If you haven't, you really should check out who is using the Mics. I just read his 12 mic was being used on Elvis Costello's new cd. Check out the upper right corner of the main page.
I'm just trying to help, I have absolutely no skin in this.
The mid to high end microphone market is crowded, that is clear by the sheer number of C12 clone options available. However, I really don't like the idea of choosing a microphone to purchase based on who else has used that specific model. I prefer critical listening/comparison.
Old 28th September 2015
  #48
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by MadGuitrst View Post
I was going to mention TELEFUNKEN Elektroakustik.

Honestly, not because your C12 mics are the best, or not that they aren't, but if someone really wants as close as can be to originals I think they're it.

Personally, I think I would either:
1. Take the quote that KidV got for you (he knows mics as well as anyone)
2. Pay the extra money for peace of mind of the TELEFUNKEN Elektroakustik
3. Consider different mics for overheads, something clean and neutral.

Personally, based on your desires, if it we me, I'd take the mics from KidV's quote.

In your case, for your peace of mind, I think you should go TELEFUNKEN Elektroakustik, if you can swing the price and if you can't stop over analyzing.

Looking at the mics in your studio profile, I'd say you could benefit from a couple of really good vocal mics first....a 251 type first, a U47 type, 269 or U67 type, etc.
You could get some clean mics, like the SHure KSM44 for overheads.

FWIW, I have settled on three Beeesneez mics as my mains: Arabella (with T-Funk tube), Phelicity voiced to a 251, and a James....which though lowest priced, is the best for my voice.
I have a bunch of others, but I have no need to change again.

Good luck.....don't drive yourself crazy, Rachel.
I am surprised you suggest I could benefit from a couple of better vocal mics.
I am really happy with my current mic selection for vocals.
I have a Peluso VTB, which is fantastic on vocals.
I also like my Electrovoice RE20, Neumann M149, Neumann TLM 67, Beesneez Phelicity and Sontronics Aria on vocals.

And I don't intend to buy any Shure KSM44s for overheads. I currently use the MXL CR89s as drum overheads, which work very nicely with a little EQ, and once I have my C12 clones, these will be used as overheads.
Old 28th September 2015
  #49
Gear Nut
Quote:
Originally Posted by Rachel Victoria View Post
The mid to high end microphone market is crowded, that is clear by the sheer number of C12 clone options available. However, I really don't like the idea of choosing a microphone to purchase based on who else has used that specific model. I prefer critical listening/comparison.
What better way to critically listen to a mic than to hear it being used by a familiar voice.

Here is a current post where Dave is listing a few artists on some of his mics

Sub $800 LDC's ACTUALLY in use by name engineers/studios
Old 28th September 2015
  #50
You won the Lottery?
Old 28th September 2015
  #51
Quote:
Originally Posted by JEK3 View Post
I shouldn't have watched this, now I want a C12...
Not to go off topic but honestly I think intonation is allot more important than subtle microphone differences. Any one of these mics would make a good recording if the performance was good. The best C12 in the world will not help this and if the track has to be autotuned it would seem to me that the subtle differences in tone might all be for naught.

As I read elsewhere, the gear tail is wagging the music dog too often.
Old 28th September 2015
  #52
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by Bullseye View Post
What exactly do you want to use this microphone for?
Lots of things. One of the first things I plan to do with the C12 clones, among other mics is to create a private Piano library for Kontakt based on the Schimmel K280 Concert Concert Grand Piano. The Schimmel K280 is my favourite grand piano, but despite there being over 50 Grand Piano sample libraries on the market, there is currently no Schimmel Grands. The piano sample library market is currently dominated by Steinway Model D's and Yamaha C7's (with the odd Fazioli, Bechstein, and Bosendorfer).

After my Schimmel Grand Piano Kontakt Library is complete, the C12 clones will be used as general Studio microphones in my home studio on acoustic instruments e.g. my upright piano, acoustic guitar, and as drum overheads etc.
Old 28th September 2015
  #53
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by Bullseye View Post
You won the Lottery?


Not enough to be "silly" with. Otherwise, I'd just be buying 2 Original C12s.
Old 28th September 2015
  #54
Lives for gear
 
MadGuitrst's Avatar
Quote:
Originally Posted by Rachel Victoria View Post
I am surprised you suggest I could benefit from a couple of better vocal mics.
I am really happy with my current mic selection for vocals.
Congrats.
I didn't see some of the micss listed.

In any case, do you like the Phelicity?
Have you considered just getting a second one in lieu of a pair of C12?
Old 28th September 2015
  #55
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by MadGuitrst View Post
Congrats.
I didn't see some of the micss listed.

In any case, do you like the Phelicity?
Have you considered just getting a second one in lieu of a pair of C12?
The Phelicity aspires to a hybrid sound, between the C12 and 251, (which I think it does very well), but I am looking for mics purely with the original C12 Sound, not the 251 - Just a personal preference for acoustic instruments really. The 251 is a fantastic vocal mic though.
Old 29th September 2015
  #56
Lives for gear
 
MadGuitrst's Avatar
Quote:
Originally Posted by Rachel Victoria View Post
The Phelicity aspires to a hybrid sound, between the C12 and 251, (which I think it does very well),
Which is it closer to, in your opinion?
Have you worked with C12s and 251s?
IMO, stock, it is closer to a C12.

Quote:
Originally Posted by Rachel Victoria View Post
but I am looking for mics purely with the original C12 Sound, not the 251 - Just a personal preference for acoustic instruments really.
Have you personally tried both in your intended application?
If so, opinions?

For what you said you want to do, I would think an extremely accurate mic with as little of it's own character is what the job calls for.
Just my £0.000002

Quote:
Originally Posted by Rachel Victoria View Post
The 251 is a fantastic vocal mic though.
I agree. Amongst my favorites.
But it's not limited to vocals....or is it?
Not IMHO.....251 voiced mics can be awesome as instrument/overhead mics.

Got a combination of the two? Even better.

Good luck on your search.....I wish you the best.
Old 29th September 2015
  #57
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by MadGuitrst View Post
Which is it closer to, in your opinion?
Have you worked with C12s and 251s?
IMO, stock, it is closer to a C12.


Have you personally tried both in your intended application?
If so, opinions?

For what you said you want to do, I would think an extremely accurate mic with as little of it's own character is what the job calls for.
Just my £0.000002


I agree. Amongst my favorites.
But it's not limited to vocals....or is it?
Not IMHO.....251 voiced mics can be awesome as instrument/overhead mics.

Got a combination of the two? Even better.

Good luck on your search.....I wish you the best.
I have used an original C12 on several occasions but have never used a 251.

Stock, I think my own Phelicity sounds slightly more like the C12 than the 251. On my own Phelicity, I find Equalizing around +3 to +4 db in quite a wide band at 7.5KHz makes it extremely similar to the C12. However, I am familiar with the C12 sound but not very familiar with the 251 sound. That may be influencing my opinion.
Old 29th September 2015
  #58
Lives for gear
I have a Open plan 251 ultralux point to point with Tim Campbell capsule. It is VERY airy. No idea how close it is to a real 251. Very different to any mic I have ever used.
Old 29th September 2015
  #59
Gear Maniac
 
Rachel Victoria's Avatar
Quote:
Originally Posted by Moondog007 View Post
I have a Open plan 251 ultralux point to point with Tim Campbell capsule. It is VERY airy. No idea how close it is to a real 251. Very different to any mic I have ever used.
The Ultralux C12 clone by OPR does sound fairly C12ish but it's not very fair how O.P.R compares it against the Advanced Audio CM12se on their Soundcloud Page; The CM12se by AA is $845 USD whereas the Ultralux version of the OPR C12 is $1549. To be fairer, they should have chosen a comparator C12 clone nearer their own MSRP price in my opinion, for example the ADK Custom Shop Vienna 12-T.

As you are an Ultralux 251 user, I am interested to know if you, (or anyone else) is able to distinguish the tone of a Match Equalized CM12se from the OPR C12 Ultralux Edition so have created a blind test with the 3 attached audio files.

One sample below is the CM12se. Another is the CM12se match Equalized to the frequency response of the OPR C12 Ultralux Edition, and one is the OPR C12 Ultralux Edition.

All audio property of OpenPlan Recording Studio.

Copyright Disclaimer: All audio is posted Under Section 107 of the Copyright Act 1976, under the stated allowance of "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Attached Files

1.wav (7.07 MB, 2383 views)

2.wav (7.07 MB, 2395 views)

3.wav (7.07 MB, 2521 views)

Old 29th September 2015
  #60
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by Rachel Victoria View Post
The Ultralux C12 clone by OPR does sound fairly C12ish but it's not very fair how O.P.R compares it against the Advanced Audio CM12se on their Soundcloud Page; The CM12se by AA is $845 USD whereas the Ultralux version of the OPR C12 is $1549. To be fairer, they should have chosen a comparator C12 clone nearer their own MSRP price in my opinion, for example the ADK Custom Shop Vienna 12-T.
...your remarks hold even more credibility when you consider that the Stellar CM-5 at only $415 is essentially the same mic as the AA CM12, so even that price-point is inflated...
Topic:
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