Topic: MSH-1A omnis, part deux

[TNJazz]

OK, as promised here is my second outing with the omnis.  http://www.yousendit.com/transfer.php?action=download&ufid=7A8D0F9767A34864

Mics were positioned on stage, angled slightly outward, pointing at the band. 

Signal chain was MSH-1A -> Metric Halo 2882 @ 24bit/48kHz

Band is "Fortunate Sons".  You've heard all these guys a million times on records, but you may not know their names.

Only realdrawback to the onstage setup is that I got very little of the keyboards, which are far left in the mix.  You can hear them, but they're pretty faint.  It's a shame too, because it's the great Reese Wynans on the B3...!

This one is an mp3, but it's not significantly worse than the 24 bit source (it is, but only marginally IMO).

Leave comments on this thread please.

Thanks,
Dirk

[smokydays]

Sounds pretty good to me!  What are the rest of you hearing?

[OOK]

OH my GOD...Do thses sound Nice!!!!   hmm.    50$ where is my wallet....

[F.O.Bean]

worth every bit of 50 dollars for sure

were the drums farther back like the B3 overall sounds very nice IMO, i gotta get a pair w/ in the month

[F.O.Bean]

how big was the split?

[Chuck]

It sounds pretty good. I hear something in the chain overloading. The microphones perhaps?
Did you do any EQ or other external processing on the file?
It'll be another week before I can record anything, other than ambient stuff around the house, with the pair I bought.

[Shawn]

I hear something in the chain overloading. The microphones perhaps?

I hear something overloading too.

[TNJazz]

Split was about 4 feet (placed on either side of the center floor wedge)

The drums were a lot closer than the B3.  The guitar players (Gary Nicholson and Kenny Greenberg) are just louder than hell at all times.  You don't want to sit in the front row for these guys.  Plus the way the mics were positioned they were pointing directly at the guitar amps.

There was no processing done to the file, other than rendering to mp3.

For whatever reason, the mics do not seem able to handle the low end without some audible distortion.  This is also evident in last week's sample, although to a much lesser degree.  It's very noticeable in the Jack Pearson set (which was significantly louder than Oteil's set and was pretty close to the volume of the Fortunate Sons).

That being said, I still think they are an exceptional value for $50.  I would use caution on loud rock shows though, as you may experience some overloading.  These mics would certainly sound amazing on acoustic music though.

Dirk

[Chuck]

Yeah, I'm going to try them on Yonder Mountain String Band in a few weeks 

[china_rider]

Just thought I would say that my pair arrived yesterday.  I have not been able to try them yet but build quality looks very good.  Hopefully I'll get to try these over the weekend on the spare chan of my R-4.

[poorlyconditioned]

Split was about 4 feet (placed on either side of the center floor wedge)

The drums were a lot closer than the B3.  The guitar players (Gary Nicholson and Kenny Greenberg) are just louder than hell at all times.  You don't want to sit in the front row for these guys.  Plus the way the mics were positioned they were pointing directly at the guitar amps.

There was no processing done to the file, other than rendering to mp3.

For whatever reason, the mics do not seem able to handle the low end without some audible distortion.  This is also evident in last week's sample, although to a much lesser degree.  It's very noticeable in the Jack Pearson set (which was significantly louder than Oteil's set and was pretty close to the volume of the Fortunate Sons).

That being said, I still think they are an exceptional value for $50.  I would use caution on loud rock shows though, as you may experience some overloading.  These mics would certainly sound amazing on acoustic music though.

Dirk

I think these need three-wire powering.  It would be pretty simple to modify the existing design to do this.  Just cut the FET source-ground connection on the capsules (carefully!) and insert a 4.7k resistor.  The rest of the circuit could stay the same.

  Richard

[Chuck]

Would there be a problem using these MSH-1A's with a 100' mic snake? The impedence is 600 ohms. That's not ideal. The reason I ask, is I want to try runing these on stage and blend them with a SBD feed.

[poorlyconditioned]

Would there be a problem using these MSH-1A's with a 100' mic snake? The impedence is 600 ohms. That's not ideal. The reason I ask, is I want to try runing these on stage and blend them with a SBD feed.

I don't know.  Try it and let us know.  But if it is critical, I would try to put a preamp on stage if you can.

  Richard

[Chuck]

I will. I'll patch together a bunch of 20 footers between one capsule and a pre-amp and use just one 5 footer on the other and record the same source (white noise and some dynamic material) with the mics very close together. That should represent a worse case scenario.

[poorlyconditioned]

I will. I'll patch together a bunch of 20 footers between one capsule and a pre-amp and use just one 5 footer on the other and record the same source (white noise and some dynamic material) with the mics very close together. That should represent a worse case scenario.

Worst case scenario is in the field!  There you will have 60Hz, PA, light dimmers, etc.  If it is a critical job, don't leave room for error.  Put a preamp near the mics.

  Richard