Taperssection.com
Gear / Technical Help => Ask The Tapers => Topic started by: RMayberry on January 08, 2021, 03:37:56 PM
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Ideas on a stereo mic that won't break the bank?
I would like to obtain an LDC stereo mic if possible.
I have an MXL 990 stereo mic. It does an OK job but, its still meh quality.
I got it a long time ago on ebay for about $120.
I am not trying to sell mine. I am just looking for recommendations on a "lower cost"(not junk) LDC stereo mic.
Thanks.
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application?
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stage recording
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I suggest looking for a pair of ADK TL's and use them in a coincident arrangement on a vert-bar. They pop up relatively frequently in the yardsale. Heavy yes, but not a problem on-stage. They are well proven to make great tapes with a long and strong taper history. You are unlikely to find a better performing LD pair for the price, and they provide a super/hypercardioid pattern as one of the 4 switchable patterns (omni, cardioid, supercardioid, fig-8) which is one of the more useful patterns for coincident (X/Y and M/S) IMO, yet oddly missing on many switchable-pattern LD stereo mics.
Two separate mics used in that way is much more flexible than a dedicated stereo mic. If you only run coincident, you can leave the mics and bar assembled and carry them as one unit in a single case. But you also have options for non-coincident stereo configurations and use as individual spot mics.
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^posts like this are why i didnt even try to contribute
i do know application is everything and theres a good user base of experience around here to tap
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^posts like this are why i didnt even try to contribute
i do know application is everything and theres a good user base of experience around here to tap
No one is asking for your contributions. Gutbucket has provided an answer. I am sure others will as well. The poster can also search the site.
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There is no problem with any of the previous posts. The OP is asking for suggestions from all members generally.
Please restrain personal animosities which originate in the TS Political Zone within the bounds of the PZ.
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There is no problem with any of the previous posts. The OP is asking for suggestions from all members generally.
Please restrain personal animosities which originate in the TS Political Zone within the bounds of the PZ.
I agree. That was completely out of line here.
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https://www.soundonsound.com/reviews/beyer-mce72
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Obviously not a "high-end" mic but I find the AT 2022 quite functional and decent sounding the handful of times I've used it. The 90 and 120 degree option is nice too.
https://www.bhphotovideo.com/c/product/761016-REG/Audio_Technica_AT2022_AT2022_X_Y_Stereo_Microphone.html
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Maybe the Studio Projects LSD2 is one to look at? I really like mine for close up applications.
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I like audio technica AT822 (battery version) or AT825 (battery plus phantom).
Really nice point and shoot mic.Also works great for mixing with SBD feed.
I often record with other mics, but I am never dissatisfied with this mic. Just sounds great every time I use it.Can often find good deals on Ebay if you are patient.
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A stereo mic I really like (but it is definitely not large diaphragm) is the Superlux S502. I do not recall the price and I purchased used, but it is very reasonable and so easy to set up and use.
Here is a sample:
https://archive.org/details/MFranti2018-08-25.SuperluxS502MNZooFlac16 (https://archive.org/details/MFranti2018-08-25.SuperluxS502MNZooFlac16)
Good luck with your search.
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I've also read here and there that the Superlux S502 is a nice mic. I am a bit suspicious about Superlux' s quality . I've bought a Superlux E542d, a fixed x-y which can run both battery or phantom power. It's a low cost thing, ok, so I accept it being not so nice sounding but the spec say 21 self noise and it seems much more than this....it's not likely a preamp noise as I have tested it with an Audient interface which EIN is -128 db and is a very quiet piece of gear. In addition most of the times I hear a noticeable hum in one channel that is not cable related ( tested with another cable). Stay away from this model...
I agree with most here that a pair would give more options in placement and still can be used with a single stand on an bar...yet there are two cables to deal with if this is a concern. I'd personally opt for a stereo mic only in case of a battery powered option, so you can appreciate it's flexibility of use with every sort of gear.
Rode NT4 can be an option if you like the sound.
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Note from the posts above that there are a number of additional options when the LDC requirement is loosened.
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There's also the Avantone CK-40 but it looks like it may have a lot in common with the Studio projects mic.
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The Shure VP88 is a good stereo mic for rock shows. It has a built in MS decoder, can run off a 6v battery and doubles as a go away wookie club. You'll find one on Reverb or ebay under $400 used. I love mine. Here they are in the wild: (L) Microtech Gefell 300 and a Shure VP88. (R) Sennheiser e914's and a Shure VP88.
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Studio Projects LSD2 and Avantone CK40 are the most affordable LDC stereo mics that are easily obtainable nowadays.
Peluso makes one - it's considerably more expensive than those but sounds great. It is a copy of the Neumann SM69.
I have (2) ADK A51 typeIV LDCs that I run onstage. Usually not vertically oriented but in ORTF depending. Lots of bang for the buck. The ADK TL as mentioned above is not to be underestimated in the right location. XY hypers onstage is pretty amazing if the situation is good.
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Peluso makes one - it's considerably more expensive than those but sounds great. It is a copy of the Neumann SM69.
That's the Peluso P-Stereo. I have one, sounds great and looks impressive. Its not quite as huge as the SP LSD2. I mostly use the Peluso for vocals with acoustic guitar where it cuts down on multiple mic clutter and provides a bit of Neumannish sweetness that flatters close vocals a bit more than the "straight and clean" ADK TLs. The two things I wish it had but are lacking are a super/hypercardioid pattern and the ability to angle the capsules more than 90-degrees apart. The other similar stereo LD I remember being produced around the same time was the Cascade L2, but I've never seen one nor know of tapers using it. Unfortunate that most of the lower cost LDC stereo mics mentioned do not provide a super/hyper pattern. Not sure about the ability to rotate to included angles greater than 90 degrees with others than the Peluso.
The far more expensive "heritage LDC stereo mics" such as the ADKs and Neumanns have those features but were never budget-category mics
These days, if I choose to tape using the Peluso or ADKs LDs I'm using them on-stage, prefering SDCs elsewhere for practical reasons.
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The Shure VP88 is a good stereo mic for rock shows. It has a built in MS decoder, can run off a 6v battery and doubles as a go away wookie club. You'll find one on Reverb or ebay under $400 used. I love mine. Here they are in the wild: (L) Microtech Gefell 300 and a Shure VP88. (R) Sennheiser e914's and a Shure VP88.
+T nice rig
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^ I agree. The Sure VP88 seems a well-designed and quite flexible microphone.
To clarify what is shown in the photo above, and because form factor is often what makes or breaks practical usage for these types of microphones, the OP should be made aware of a fundamental difference between different stereo microphone designs. That is a stereo microphone may be a Side-Address design or an End-Address design. Most LD stereo mics are side-address, where both capsules face outward to the side, perpendicular to the body of of the microphone, so the microphone is typically mounted with its major-body-axis pointing up or down.
A number of SDC stereo mics and most stereo microphones that work with a Mid/Side arrangement are end-address designs. In that case the microphone's major-axis is pointed toward the source instead of up or down. So the mic body is mounted horizontally in most cases (except for applications like drum overheads when it would typically be placed above and face downward).
The Sure VP88 is a mid/side end-address design, designed to be pointed at the source (see drawing below). Although likely using SDC elements, the housing is large and somewhat similar in appearance to a side-address LDC stereo mic, so I can imagine there could be some confusion as to proper orientation. In the photo above the rig in front (to the left, with windscreen, between the MGs) has the VP88 correctly oriented with the microphone pointed toward the source. The rear rig (to the right, without windscreen, between the Senns) has the VP88 facing the ceiling. The photo was most likely taken before the VP88 in back, mounted with a hinged mount, was reoriented to face toward the stage like the other setup.
(https://s3.us-east-2.amazonaws.com/shure-pubs-staging/graphics/f_940494cb-9495-42bf-9a56-7b6672466564-ENG.png)
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^ The Sony ECM-MS957 is both end-address and side-address as the front capsule can be tilted by 90° with a small knob on the body of the mic.
Sorry I couldn't attach a picture but you'll find it here:
https://www.sony.com/electronics/support/res/manuals/W001/W0014959M.pdf
Picture D on page 5.
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That's an interesting design I've not seen elsewhere
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^ The Sony ECM-MS957 is both end-address and side-address as the front capsule can be tilted by 90° with a small knob on the body of the mic.
Sorry I couldn't attach a picture but you'll find it here:
https://www.sony.com/electronics/support/res/manuals/W001/W0014959M.pdf
Picture D on page 5.
That was the first mic I bought in 1996 with a minidisc recorder. Ive been considering getting another one lately. It sounded pretty good from what I remember.
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That's an interesting design I've not seen elsewhere
I used it side-address with a voice + folk guitar with good result, after trying and finding the correct position to balance both. Well, as usual!
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That was the first mic I bought in 1996 with a minidisc recorder. Ive been considering getting another one lately. It sounded pretty good from what I remember.
I also ad a MiniDisc recorder ! I remember the first time I plugged a "modest" stereo boundary A-T mic in my MZ-R30! Like I had bought a new high end microphone...
Some years ago it was easy to find a ECM-MS957 on ebay at a decent price. I even found out a Pro model, new, which I never had time to test.
What is nice with both models is you can power them with phantom power, through a Y stereo balanced cable, XLR-5 to two XLR-3 (L + R)... or a long XLR-5 to XLR-5 cable depending on what you're plugging it to. M-Audio DMP3 at the time. But there are some portable powering devices with a XLR-5 input, Beyerdynamic or Sennheiser maybe.
One of their problems is to get a shockmount fitting their unusual body diametre, 34 mm IIRC. But it's possible, not only with Rycote I did not know then.
Another is their noise floor if you want to record quiet landscapes. No problem with a marching band!