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Author Topic: sanken cs m1  (Read 3352 times)

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Offline old and in the way

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sanken cs m1
« on: April 13, 2018, 07:35:20 AM »

Offline heathen

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Re: sanken cs m1
« Reply #1 on: April 13, 2018, 08:36:14 AM »
Going just by the numbers it looks like there's not much bass to be had with these, but that's to be expected with shotguns right?
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Offline Gutbucket

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Re: sanken cs m1
« Reply #2 on: April 13, 2018, 08:52:20 AM »
You probably already know what I'll suggest with respect to that-

Try one of these (or pair- coincident X/Y PAS) in the center between a pair of widely spaced omnis. In which case the reduced low end sensitivity becomes a positive feature by not cluttering up the bass the omnis provide.
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Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<< (note: This is a 1st draft, now several years old and in need of revision!  Stay tuned)

Offline illconditioned

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Re: sanken cs m1
« Reply #3 on: April 13, 2018, 11:52:40 AM »
I've made some very nice recordings from the back of chatty rooms using AKG C747 mini shotgun microphone.  I expect these to be similar sounding, probably quite a bit better.

They act like a hypercard at low frequencies, and focus with higher frequency.
If you are on axis, the response is very smooth.

Yes, the bass rolls off a bit, but most venues have too much bass already.

Would love to try these out some day...


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Offline dactylus

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Re: sanken cs m1
« Reply #4 on: April 13, 2018, 12:09:26 PM »


Priced at $895 at Trew Audio:  https://www.trewaudio.com/product/sanken-cs-m1/

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Offline Ronmac

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Re: sanken cs m1
« Reply #5 on: April 13, 2018, 12:38:38 PM »
These will work very well for the designed purpose, as a dialogue mic at a short distance from subject.

For anything else.....

I own the Neumann Holy Trinity of mics for film dialogue ( KMR82i, KMR81i, KM150) and similar Sennheisers. I wouldn't use any of them for live music capture (other than spot mics in some situations).



Offline Gutbucket

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Re: sanken cs m1
« Reply #6 on: April 13, 2018, 01:05:01 PM »
These will work very well for the designed purpose, as a dialogue mic at a short distance from subject.

True.

However, like the reduced bottom response, this type of dialog mic response actually works very well when used as a center mic (or center pair) combined with wide omnis for recording music.  Not the intended application, and a pair of them may or may not work well for music on their own, but I find this type of response tends to mesh really well with the omnis, in fact often better than a more balanced response microphone intended for recording music.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<< (note: This is a 1st draft, now several years old and in need of revision!  Stay tuned)

Offline DSatz

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Re: sanken cs m1
« Reply #7 on: April 14, 2018, 11:52:20 PM »
The fundamentals of acoustics don't go away if you try to ignore them ...

Sanken doesn't design or market their shotgun microphones for music recording. They deliberately attenuate the bass and boost the upper midrange because that improves speech intelligibility for dialog recording. This is in keeping with most other manufacturers of shotgun microphones (as well as most super- and hypercardioid microphones generally).

I know of only two manufacturers (no surprise: Schoeps and Neumann) who have seriously designed their shotguns for music pickup as well as for speech. I own both brands, and the difference in the naturalness and attractiveness of the sound quality between them and any other brands I've ever tried is striking.

Still, wherever possible I wouldn't use shotguns for music recording at all. Good supercardioids sound much better, particularly in reverberant recording environments. This is largely a function of the smoothness of their frequency response at ALL angles of sound incidence, which in turn is tied to their keeping the same directional pattern throughout their entire frequency range--exactly what a conventional, single-capsule shotgun microphone can't do (see below).

Sanken offers some shotguns (the best one being the CS-3e) that have multiple capsules, combined electronically in a way that gives them a narrow pattern across most of the audio range. But at the price point of this new 4" model, I think it can only have one capsule. That, in combination with its shorter-than-usual interference tube, means that its pattern will have a "crossover" frequency in the upper midrange; below that frequency it will function as something like a supercardioid, while the narrower pattern will occur only above the crossover frequency [note added later: Yes, this is borne out by the polar diagrams that Sanken has up on their Web site]. With single-capsule shotguns, the shorter the interference tube, the higher the frequency of that crossover, and the broader the pickup pattern even at its narrowest. Longer shotguns have both a narrower pattern at high frequencies, AND a lower crossover to the region in which they have that narrower pattern.

--best regards

P.S.: The AKG C 747 which someone mentioned earlier in this thread is NOT a shotgun microphone nor did AKG sell it as one; it is just a directional microphone designed for speech pickup. It does that job well enough, though it's on the noisy side.
« Last Edit: April 11, 2021, 02:33:09 AM by DSatz »
music > microphones > a recorder of some sort

 

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