Topic: Replacing my Coresound binaurals?

[F.O.Bean]

Yeah, I even run hypers DFC in the sweet spot and they AMAZE ME in that setting. But since I bought CA14 cards n omnis, I cant wait to run mk41>Sax & CA14>CA9100 and to  hear the difference. Im also buying Busman BSC2 Active mics to run alongside my Schoeps setup You can NEVER have too many options

[newplanet7]

Ha, that's what I get for trying to sound like I know what I am talking about! I assume the cards would get a decent pull from up close or the sweet spot as well, but would cut out some ambient outside noise if recording from further back then? I get to record a lot from FOB in GA settings, so I want to make sure the mics will handle wherever I am.

Cards deliver in the same exact places as omni's. Omnis wouldn't sound great in all the locations as cards.
However, if you get the right location and happen to have omnis, go for it.
When used in the right circumstance or mixed in with say another card or hyper source they shine.
Personally, I've only run omni's in optimal locations.

[F.O.Bean]

Yeah, I only tend to use omnis in outdoors so there arent any room reverbations

[aaronji]

Cards deliver in the same exact places as omni's. Omnis wouldn't sound great in all the locations as cards.

I don't think I really agree with that first statement.  In some situations, omnis just sound better than cards.  Just as in some situations, cards will sound better than omnis.

Personally, I think this is a pretty nuanced question.  Is a card the best choice for many tapers in their typical taping situation?  Yes, in my opinion.  But that's not to say that, for some tapers/situations, another polar pattern might prove more useful.

Here's what Schoeps has to say about it:

Which is the Best Capsule for ... ?

Only in rare cases can ”the” correct microphone be chosen unequivocally. The recording location, the positions of sound sources and the microphone, the atmosphere of the music or other program material and the desired effect must all be considered. Any absolute prescriptions would thus be of limited value at best. How ever, we would like to offer some ideas to guide the choice that must be made.

Our Recommendations

The most commonly used pattern for mediumdistance pickup is the cardioid (MK 4 or MK 4V). However, there may be good reasons to make a different choice. Some examples:
– Greater directivity may be required, either for the sake of a ”drier” recording or to suppress sound from adjacent instruments. In this case we recommend the supercardioid MK 41 (as long as no nearby sound source or P.A. loudspeaker is directly behind the microphone's rear lobe).
– For a broader pickup pattern, with very natural sound quality for sound arriving at the sides of the microphone and more extended low-frequency response, we recommend the MK 21 wide cardioid.
– For essentially perfect pickup of low-frequency information and room sound, we recommend the omnidirectional MK 2H or MK 2S (for moderate miking distances).
– When using directional microphones with very close placement, proximity effect must be compensated with a bass rolloff. This is especially true when miking instruments. For voice, try the MK 4S or MK 4VXS. For instruments the omnidirectional MK 2 may be of interest (no proximity effect, low sensitivity to ”popping” or solid-borne noise); for grand piano, the BLM 03 C.
– For very distant miking and/or as an ”ambience” microphone, with essentially perfect bass response: omni MK 3.
– For outdoor recording if directivity is not required (e.g. close miking), the omni MK 2S with windscreen W 5 or W 5 D will offer low sensitivity to wind, ”popping” and handling noise. If high directivity is required outdoors, the MK 41 can be used with the W 5 D, W 20 R1 or WSR MS ”basket”-type windscreens with built-in elastic suspension for mono or stereo.

And DPA's take on it:  http://www.dpamicrophones.com/en/Mic-University/Technology-Guide/Directional%20vs%20Omnidirectional%20Microphones.aspx

Really, you just need the right tool for the job.  If you can only afford one pattern, it makes sense (for many people) to get cards.  But there are also definitely conditions that will favor another pattern...

[newplanet7]

Cards deliver in the same exact places as omni's. Omnis wouldn't sound great in all the locations as cards.

I don't think I really agree with that first statement.  In some situations, omnis just sound better than cards.  Just as in some situations, cards will sound better than omnis.

But you do in fact agree with me. We are more or less saying the same thing.
I am saying that cards will perform in the same locations as omni's but you can't really flip it around and say omni's will perform where cards are needed.
In those locations where you could use omni's with great results they often do sound more natural.

[aaronji]

^^^ OK, I guess it is really just a semantic difference.  When you said "cards deliver in the same exact places as omni's", I interpreted that to mean "deliver a recording of equivalent quality".  In my opinion, there are situations where omnis clearly outperform cards, so that's why I said I didn't really agree.  And situations which clearly favor cards are the same.  Still, there is a broad area in between those two extremes where it really comes down to what you personally prefer, given the venue, music, location, crowd and how the mics will be used.  A lot of people post here that omnis require essentially perfect conditions to sound good, but I think, used well, they can give great results in less than ideal situations too (more natural, better low frequency response, better off axis response)…

I prefer to use omnis a (large) majority of the time.  A lot of that comes down to the music I record (mostly jazz), the venues (usually pretty small and with decent sound), and the crowds (usually pretty respectful and less wasted than most rock shows).   Like I suggested in my previous post, I know that puts me solidly in the minority!  I’m not the only one, though…