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9 SDC microphones with classical guitar shooutout Condenser Microphones
Old 1 week ago
  #1
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rojaros's Avatar
9 SDC microphones with classical guitar shooutout

Hello, here you can listen to 9 different microphones on classical guitar; The code names are to be understood as follows

- MBHO: Mikrofonbau Haun Obrigheim MBC303 with KA200 cardioid capsule

- DPA: 4011 cardioid

- 3UAudio: Warbler 127-C-Flat cardioid (flat frequency response)

- C451: AKG C451B with CK1 cardioid

- C460: that are AKG 460B (St. for stock body; Gab1 for Gabasa Jim Williams mod) with either C61-ULS or CK1 cardioid capsules

- LACM3: Line Audio CM3 wide cardiod

- Rode NT3T

(Rode NT3 is only used on take01 and C460 stock only on take02)

What do you think? Opinions very much appreciated...

Dropbox - 2018_11_09_Grand_SDC_Mictest_ClassicalGuitar - Simplify your life
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Old 1 week ago
  #2
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Looks like your mics are spaced at least 6” apart from one side to the other. Would you mind describing your recording technique (what are you pointing at and at what distance?) Then take one mic of your choosing and record from the leftmost position and then move it to your rightmost position and record again.

Then see if those two recordings are the same. Because recording technique for a cardioid at that much separation changes the sound a lot.
Old 1 week ago
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Thanks for your comment. That’s surely not a rigorous test here, you are right.

The mics are around 120cm above the ground (so quite a bit higher than the guitar) and roughly an arm length (80 cm) from the guitar. They aim slightly down and towards the bridge of the guitar. Because of the distance from the guitar the spread of the microphones does not produce a dramatically distorted image of their characters IMHO.

The mics went to the Tascam HS-P82 at 96/24 and then were transferred to Protools 12 native and as mono tracks panned in the middle mixed down down to 44.1/16 interleaved stereo tracks after mono normalization to -4.9dB and dithering (Isotope 6). No other processing.

Despite the imprecision of the placing one can clearly understand the differences between the mics’ responses.

To seriously improve the test I would have to play always the same piece in exactly the same way and swap the mics, which is quite unrealistic. Probably the differences in playing would null the advantages.

Besides, if you don’t take a totally scientific approach to recording there always be differences in mic positioning from session to session...

Some of the listeners might find the overview uselful nevertheless. If only to find out that it’s possible to get decent sound from a whole variety of mics in widely different price categories.
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