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Author Topic: a stereo mic that won't break the bank?  (Read 1559 times)

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Offline DavidPuddy

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Re: a stereo mic that won't break the bank?
« Reply #15 on: January 11, 2021, 11:17:43 AM »
There's also the Avantone CK-40 but it looks like it may have a lot in common with the Studio projects mic.

Offline boa

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Re: a stereo mic that won't break the bank?
« Reply #16 on: January 11, 2021, 01:21:47 PM »
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.
ISO: Microtech Gefell m27 omni capsules

Offline goodcooker

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Re: a stereo mic that won't break the bank?
« Reply #17 on: January 12, 2021, 11:38:36 AM »
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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Offline Gutbucket

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Re: a stereo mic that won't break the bank?
« Reply #18 on: January 12, 2021, 12:41:43 PM »
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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Offline rocksuitcase

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Re: a stereo mic that won't break the bank?
« Reply #19 on: January 12, 2021, 01:18:29 PM »
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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Offline Gutbucket

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Re: a stereo mic that won't break the bank?
« Reply #20 on: January 12, 2021, 04:12:02 PM »
^ 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. 

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 TSNéa

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Re: a stereo mic that won't break the bank?
« Reply #21 on: January 14, 2021, 11:28:16 PM »
^ 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.



Offline Gutbucket

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Re: a stereo mic that won't break the bank?
« Reply #22 on: January 15, 2021, 09:46:06 AM »
That's an interesting design I've not seen elsewhere
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 jcable77

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Re: a stereo mic that won't break the bank?
« Reply #23 on: January 15, 2021, 12:15:17 PM »
^ 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.

Offline TSNéa

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Re: a stereo mic that won't break the bank?
« Reply #24 on: January 15, 2021, 12:23:08 PM »
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!

Offline TSNéa

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Re: a stereo mic that won't break the bank?
« Reply #25 on: January 15, 2021, 02:51:10 PM »
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!

 

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