Gear / Technical Help > Microphones & Setup

Superlux S502 vs. Line Audio CM3 for budget cards

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Massive Dynamic:
I do only a little open taping these days, but the omnis I have aren't the best tool in those situations. I am considering a couple of low cost cards, and these two are where I am leaning. Are there other possibilities I might be missing?

For reference, I like the HF presence of the 4v caps or VM-44 cards, and these are similar, with the S502 probably the brighter of the two. Low end response is comparable between the two based on published specs, but I haven't heard enough recordings to know which goes lower. Any recommendations on recordings I should sample to help me decide? Thanks.

Cheesecadet:
I had the CM3s for a bit.  I was not impressed and they were sold fairly quickly.  Some on TS do like them though.  No experience with the Superlux FWIW.

down2earthlandscaper:
Try this for the Superlux. Scott has quite a few recordings with them posted.

https://archive.org/details/JGB2016-03-06.MelvinSealsandJGBTheCabotTheaterMuzikwizeLiveRecordings/14WaitingForAMiracle.flac

voltronic:
The CM3s have a massive following from the classical recording folks on Gearslutz.  Some of the recent examples posted there will knock your socks off.
https://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/644759-cm3-really-good.html

More CM3 samples, including some of my own, in the Team Line Audio thread here as well.

There's also a whole lot of S502 samples on Gearslutz.  It's also very impressive as a Schoeps knock-off, but there are occasionally some manufacturing reliability issues.
https://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/568801-superlux-s502.html

Here's the thing: Unless you are going to always have the correct acoustics and placement position where ORTF is going to work, you should buy separate mics instead of (or in addition to) the S502.  Otherwise you're locking yourself into one stereo arrangement that may sound fantastic in some places but not in others.

Another consideration is that the CM3 is a subcardioid mic.  I find I like this myself, as the bass seems to be a bit better at distant placements compared to stardard cardioid (though not as good as an omni of course) while at the same time having better rear rejection if that's a concern.  They do have to be spaced a bit wider than cardioid mics.  Most owners of them seem to start at NOS spacing and then adjust from there.

heva:
Don't have cm3's, but the convenience with the S502 is that is 'ORTF', which most always 'works'.
AFAIK that's why the french 'invented' this ORTF setup: to easily make good sounding 2track stereo recordings in [most] any situation.

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