This little microphone has a natural, detailed and balanced response. Perfect for natural reproduction of acoustical instruments such as members of the bowed and plucked string-families, grand piano, brass, percussion, overhead choir and voice -with a minimum of colouration. The response is rather smooth and flat even at an angle!
The CM3 is tough enough to handle drums with full depth and punch, drum overhead clearly and crisp without strain. It also handles amplified instruments well. -A true allround microphone!
It's suitable for professional studio and PA use, with a pricetag at the hobbyist level!
It's very small size (about the same as a normal XLR plug) makes it easy to place, without being in the way. Its size and black colour makes it close to invisible on stage. Delivered with foam windsheild and microphone holder (clip).
During manufacturing each capsule is measured, selected and trimmed by us to close tolerances. Out of range capsules are rejected. This in combination with the internal circuitry, results in a response with a unique flatness. These are quality microphones made for demanding situations.
CM3 SPECIFICATIONS (version "12-52V", introduced 2011)
Type: Condenser microphone (permanently biased 16mm capsule)
Polar pattern: Cardioid (slightly wide/semi wide cardioid)
Frequency response: 20-20000Hz
(100-16000Hz+-1dB on axis, at 1m, 23C, measured with MLS noise, 1/12 octave narrow smoothing)
Phantom power: 12 - 48V (P48 recommended for best performance)
current consumption: 3.5 mA
Impedance: <100 Ohm
Sensitivity: 6mV/PA -44dB
S/N ratio (DIN A-weighted/CCIR): 78dB/68dB
Noise level: 16dB(A)
Max SPL: 135dB @0.5% THD ([email protected], 120dB @ 12V)
Size: 77mm x 20mm
Here's a sax quartet I recorded a few weeks ago in an (empty) 1500-seat concert hall. Mix is primarily CM3's in NOS about 7' in the air, with the quartet in a tight ~12' dia semi-circle (or so) around the mics. Also had a pair of DPA 2006A's (in the same position but a bit wider)...
...stand in te center of the boom a pair of CM4 in NOS combined with a spaced pair of CM3 (L&R 230cm from the center of the boom). Height between 350 and 400 cm from the floor. Microphones aiming the line just behind the front desks 2nd violins and violas. There were more...
This microphone is very close in quality to a schoeps mk21 which costs about 10x more???
so what gives well it is actually quite a cool story.
A guy in sweden makes them and has been doing so for decades.
They are low noise high quality wide cardiod (like omni but reject at 180 behind...
The Line Audio CM3's are wonderful little microphones that stand out from the crowd of budget small diaphragm condenser microphones.
It offers a balanced timbre, which is a rarity amongst its contemporaries
The sound is very full and, especially if you take the time to place for good proximity...
I have run these CM3 mics alongside the Schoeps CMC64. The CMC64 is a better mic but at a huge price differential. The Line Audio is a very good wide cardioid and is good enough for any application. It has good sound and imaging, is tiny, hardly bigger than an XLR connector, which means they are...