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Gear / Technical Help => Microphones & Setup => Topic started by: Nick's Picks on March 08, 2006, 12:14:23 PM
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I've got to hand it to SP, that is one DAMN fine sounding microphone.
I like this thing even better than my AKG c422.
Its smooth, sweet, detailed, simple to operate and just FAT all around.
STRENGTHS
- cheap!
- sounds very smooth and refined
- awesome bottom end, dispite the 30hz end (something i've hated in other mics of that same measurement)
- monster sound stage..but that could also be in part to my ACM 660. XY recordings sound 3D w/this setup.
- easy to hide FOB w/the windscreen on. It just looks like someones head.
WEAKNESSES
- sort of cheaply built, imo. the pins on mine bend all the time, and they are quite loose in the chassis. But hey..what do you want for $499.
- freakin' BIG and heavy. 2lbs+ I believe. if your clamping, better pick someone w/a fat stand.
Honestly, the recordings iv'e made w/this thing so far since owning it are pleasing me every bit as much as my km140s did prior. A couple of times i've run my Pelusos for a set and the LSD for a set, and so far i've been loving the LSD stuff most.
which brings me to my next post....
anyone want to by a Peluso CEMC6 stereo kit w/cards and hyper caps?
:)
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I agree with every statement there, its a damn fine mic.
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Love mine so much the wife is becoming jealous. Used it while recording a neighbor's friend play guitar on his back deck and the results when fantastic.
Edit to add that I am building one of these for mine very soon:
(http://img221.imageshack.us/img221/7299/index8ie.jpg) (http://imageshack.us)
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^ used w/permission ;)
I've had reall nice luck with the SP C3s, the non-siamese twin cousins of the LSD2. I'm looking to move to ADK 51 TLs only to add the hyper pattern to the mix. If I can't sell them it won't kill me to keep them. I think for anyone in love with X-Y or Blumlein... and that's an easy fall to take... this mic has a lot to recommend it, as Nick said.
(sorry for the mini hijack... couldn't resist. :P )
Thank you Dave :)
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I've got to hand it to SP, that is one DAMN fine sounding microphone.
I like this thing even better than my AKG c422.
Its smooth, sweet, detailed, simple to operate and just FAT all around.
Are you running them XY or Blumlein? How would you recommend setting them up for a small acoustic string group? And why do they have an omni setting?
Jeff
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I like this thing even better than my AKG c422
really? Wow
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I run it XY most of th etime.
I believe the omni pattern would be best when used on something like guitar or voice where you could mix down to mono very easily.
and regarding liking it better than my c422...yes, really
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I've got to hand it to SP, that is one DAMN fine sounding microphone.
I like this thing even better than my AKG c422.
Its smooth, sweet, detailed, simple to operate and just FAT all around.
STRENGTHS
- cheap!
- sounds very smooth and refined
- awesome bottom end, dispite the 30hz end (something i've hated in other mics of that same measurement)
- monster sound stage..but that could also be in part to my ACM 660. XY recordings sound 3D w/this setup.
- easy to hide FOB w/the windscreen on. It just looks like someones head.
WEAKNESSES
- sort of cheaply built, imo. the pins on mine bend all the time, and they are quite loose in the chassis. But hey..what do you want for $499.
- freakin' BIG and heavy. 2lbs+ I believe. if your clamping, better pick someone w/a fat stand.
Some questions for Nick or other LSD2 users.
-Are the pins you mention the XLR mic pins, the breakout cable pins, or something else?
-How much less sensitive is the LSD2 in comparison to the CEMC6? Gain difference in db?
-Any comparisons to the AKG 414? Any comps available?
-Is it battery hungry?
-Any recommended shows on archive of outdoor shows, preferably rock?
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Some questions for Nick or other LSD2 users.
-Are the pins you mention the XLR mic pins, the breakout cable pins, or something else?
-How much less sensitive is the LSD2 in comparison to the CEMC6? Gain difference in db?
-Any comparisons to the AKG 414? Any comps available?
-Is it battery hungry?
-Any recommended shows on archive of outdoor shows, preferably rock?
the pins are the ones in the mic itself. the cable is ok. nothing fancy. I might make myself a new one w/silver cable.
how much less sennsitieve than which cemc6, the peluso or the schoeps? I dont find it all that hungry for gain really.
comparred to the 414s setup coincident? smoother in the high end on the LSD. I just think the overall presentation envelopes me more and find it very warm and smooth. sometimes my 414BULS's sounded a bit strident when I ran them coincident. It was still my preffered way to run them though. it depended on the music I was recording.
the 30hz bottom end on the LSD, and I cant believe i'm saying this..., is perfect. some of the best bass reproduction i've heard out of any mic i've ran.
battery hungry? I think it might be. I dont have its phantom current draw spec, but i'm sure its in the manual. drains my marantz 660 pretty fast w/batteries that would last 2 hours w/my Pelusos.
no idea on outdoor shows to recomend. I'd look into CraigT's recordings. He ran that thing for a while and i've heard some excellent pulls out of his rig.
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how much less sennsitieve than which cemc6, the peluso or the schoeps? I dont find it all that hungry for gain really.
I was able to run the Peluso CEMC6 (schoeps is CMC6) at rock shows line in w/out any gain or transformers. I've read that just isn't likely to be the case with the LSD2. [EDIT: I think I remember reading you had run the LSD2 and CEMC6 at the same show to do a comp] Wondering if I need a pre or not.
comparred to the 414s setup coincident? smoother in the high end on the LSD. I just think the overall presentation envelopes me more and find it very warm and smooth. sometimes my 414BULS's sounded a bit strident when I ran them coincident. It was still my preffered way to run them though. it depended on the music I was recording.
the 30hz bottom end on the LSD, and I cant believe i'm saying this..., is perfect. some of the best bass reproduction i've heard out of any mic i've ran.
battery hungry? I think it might be. I dont have its phantom current draw spec, but i'm sure its in the manual. drains my marantz 660 pretty fast w/batteries that would last 2 hours w/my Pelusos.
no idea on outdoor shows to recomend. I'd look into CraigT's recordings. He ran that thing for a while and i've heard some excellent pulls out of his rig.
You're making this sound really good, but I guess that was the point ;) Thanks for the info. +T
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no idea on outdoor shows to recomend. I'd look into CraigT's recordings. He ran that thing for a while and i've heard some excellent pulls out of his rig.
here's a nice one:
http://www.archive.org/audio/etree-details-db.php?id=28545
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is only one LSD2 typically used? or is this referencing a stereo pair? does 1 mic provide a stereo signal?
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is only one LSD2 typically used? or is this referencing a stereo pair? does 1 mic provide a stereo signal?
only one, it's a stereo mic. two capsules in it.
http://studioprojects.com/lsd2.html
very cool! so, do the top capsule and bottom capsule rotate away from each other to get different angles? (ortf, din, xy)
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also, what are the advantages of this vs. two C3's? I can do split omni's with C3's, but can't with the LSD2. easier to run blumlein and xy, maybe? is the sound virtually the same as the C3's? it looks like the same capsule set-up.
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key advantages to me are that it's EXTREMELY easy to set up, capable of being clamped onto somebody else's stand, ability to run the mic fob (a LOT less obtrusive than a pair of ld mics). In other words, advantages over a pair of c3s are almost exclusively convenience-based.
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I have come to beieve that coincident stereo techniques are the only way to fly w/large D's.
but thats me. so things like the LSD excell.
for example, if you've got yourself a good stereo and dont mind wasting a CD, download and burn this.
http://www.nickspicks.com/mp3/phil2006-02-22set2t06.flac
Be sure to start it up w/the volume around "concert level"..., 100db or so should do it.
thats XY, off center by 10-15' but it captured the room perfectly.
I just installed a new DAC in my stereo and i'm getting into this recording way deeper than w/the stock output from my Toshiba....so i'm horny on it. But damn',d , thats 3 dimensional!. Or the acoustics in my living room are.
::)
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I know!
:(
that opening note and then that gigantic BOMB...man, that is so PHIL ! his bassline is barking like a mad dog.
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I just purchased Chanher's LSD2!
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nice
it sounds fantastic w/the V3 as well, so you'll be loving life.
I'll be seeing those 414s in the yard sale.
:)
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I just purchased Chanher's LSD2!
Congratulations. I have been using mine more than I had thought I would. Most certainly the best money I have spent in awhile.
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nice
it sounds fantastic w/the V3 as well, so you'll be loving life.
I'll be seeing those 414s in the yard sale.
:)
Maybe after a couple of months I will sell both the LSD2 and 414s and try and buy some Neumann LDs... :bigsmile:
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nice
it sounds fantastic w/the V3 as well, so you'll be loving life.
I'll be seeing those 414s in the yard sale.
:)
Maybe after a couple of months I will sell both the LSD2...
Couple months, eh?
Let me know.
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nice
it sounds fantastic w/the V3 as well, so you'll be loving life.
I'll be seeing those 414s in the yard sale.
:)
Maybe after a couple of months I will sell both the LSD2...
Couple months, eh?
Let me know.
That was kinda a joke...
Not really though. :P I'll try and keep you in mind.
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for example, if you've got yourself a good stereo and dont mind wasting a CD, download and burn this.
http://www.nickspicks.com/mp3/phil2006-02-22set2t06.flac
Be sure to start it up w/the volume around "concert level"..., 100db or so should do it.
I listened to this on my studio monitors (at nothing near 100dB). The main vocals seemed a down in the mix. Is that how it was at the show? (wouldn't know myself, never seen phil).
The recording sounds great with that one exception (keyboards are too up front for my tastes, but again, that's all in the mix).
I went through archive and pulled out a few samples of folks using this mic and the results were mixed. In all of them however, I felt the bottom end was a bit too pronounced (but I know how much folks on this board love that colored bottom end -- ala AKG). But then I love a nice clean no color added recording (which has it's own set of problems at times).
Wayne
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pronounced?
the low end on the lsd2 rolls off on the bottom, i always thought if anything, it was bass shy.
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I should be putting it to the first test friday night for Greyboy.
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I should be putting it to the first test friday night for Greyboy.
Should be some bass there ;) . Let us know (or hear) how it goes.
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pronounced?
the low end on the lsd2 rolls off on the bottom, i always thought if anything, it was bass shy.
Its interesting you say this, I took the sample provided and picked a spot where you can hear phil the most. I ran a spectrum analysis of the clip and found the lowest freq. was 45hz but it was down by -27db!!!!!!........
Now I am not knocking this mic...I am thinking about getting one myself, but it sounds like this mic is more intended for up close stage lip or onstage taping.... overall the sound is clear and clean, but definately bass shy..... just my worthless two cents...
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Its interesting you say this, I took the sample provided and picked a spot where you can hear phil the most. I ran a spectrum analysis of the clip and found the lowest freq. was 45hz but it was down by -27db!!!!!!........
Now I am not knocking this mic...I am thinking about getting one myself, but it sounds like this mic is more intended for up close stage lip or onstage taping.... overall the sound is clear and clean, but definately bass shy..... just my worthless two cents...
Have you done the same analysis with other mics in similar environments? How does the lsd2 compare?
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I took the sample provided and picked a spot where you can hear phil the most. I ran a spectrum analysis of the clip and found the lowest freq. was 45hz but it was down by -27db!!!!!!........
This could just as easily be due to the PA and not the mic. Without another recording as a control/reference, we have no idea of knowing.
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Well I will be taping from the section tomorrow night at 930 club. About 35" back and about 10' LOC. So if it is intended only for up close taping, my recording should sound like crap.
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Well I will be taping from the section tomorrow night at 930 club. About 35" back and about 10' LOC. So if it is intended only for up close taping, my recording should sound like crap.
No, 35' should sound very natural and transparent with the LSD2 You'll basically get what you hear, for the most part.
If you would use hypers in a particular setting, set the caps X-Y@ 70 degrees
I have actually used the basscut both on the mic as well as on the FR-2, but never together.
These babies are pretty flat down to 30hz and do exhibit proximity efffect, although X-Y seems to limit it .
The basscut has saved me in boomy rooms with bass-heavy mixes.
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Well I will be taping from the section tomorrow night at 930 club. About 35" back and about 10' LOC. So if it is intended only for up close taping, my recording should sound like crap.
No, 35' should sound very natural and transparent with the LSD2 You'll basically get what you hear, for the most part.
If you would use hypers in a particular setting, set the caps X-Y@ 70 degrees
I have actually used the basscut both on the mic as well as on the FR-2, but never together.
These babies are pretty flat down to 30hz and do exhibit proximity efffect, although X-Y seems to limit it .
The basscut has saved me in boomy rooms with bass-heavy mixes.
Sweet thanks for the knowlege. Another question, from the section I described earlier, would M/S or blumlein be out of the question? The sound in 930 is almost always really good for a club, really good.
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out of the question?
who knows. try a set one way and then another and then you'll really know next time.
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I'd guess the question really is all about how much true stereo information can be gained in a deep room with a mono PA.
First blush, I'd say very little, but there are many variables.
Nick is right on. With guerilla tapage, the only way to know what works is to try it.
The worst that could happen with a M+S run that had limited side is that you'd have a mono recording.
The best is that you can eliminate noise and echoes with the turn of a knob on the plug-in.
The Voxengo M+S Plug (free):
http://www.voxengo.com/product/msed/
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out of the question?
who knows. try a set one way and then another and then you'll really know next time.
Cool. It's a late night show doors at 10pm, so I doubt there is a second set. God I hope there isn't a second set, I work at 9am tomorrow. I think I am just gonna try one and see how it comes out. After all the main reason I am going to this show tonight, besides seeing Karl D, is to try out the LSD2!
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2 sets is my guess. 11:00>12:15 set 1, 12:40>2:00 set 2
i think they have been doing two sets this whole tour. is there a opener?
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jeremy, i just saw a thread that reminded me of this, please do a test record of the omni mode. Certain lsd2's have been known to emit a high-pitched ring while in omni mode. the good news is that the fix is so easy, even electronics-challenged people can do it. I never used the omni setting, so I don't know if it's requires the fix, but I wouldn't want you to ruin a recording!
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2 sets is my guess. 11:00>12:15 set 1, 12:40>2:00 set 2
i think they have been doing two sets this whole tour. is there a opener?
There is an opener. I have never seen one of these late door shows at 930 have 2 sets.
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just curious what people are running behind their LSD2 (other than a V3)? any mod UA-5 users out there?
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yup.
T+ (as opposed to +T :) )
Jason Adler runs this as well. sounds sick.
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yup.
T+ (as opposed to +T :) )
Jason Adler runs this as well. sounds sick.
Finally the student becomes the master. ;D
It only took about 5 years of me wishing I had your rig for you to start running what I was running.
JAson
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well, there's always next month....
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well, there's always next month....
[cough]SLUT[/cough] ;D
JAson
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Well I will be taping from the section tomorrow night at 930 club. About 35" back and about 10' LOC. So if it is intended only for up close taping, my recording should sound like crap.
So I was wondering, how did it turn out........?
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Well I will be taping from the section tomorrow night at 930 club. About 35" back and about 10' LOC. So if it is intended only for up close taping, my recording should sound like crap.
So I was wondering, how did it turn out........?
I was just about to post about this.
First off I found out that they were playing on Sunday night in Towson MD. A little longer trip, but I didn't have to be up at 7 on monday morning, as I did on Saturday. So I skipped the friday DC and did the Towson show instead. The funny thing is that the recher sounds very good as well and the section is almost exactley in the same spot as 930; 35' back and about 15' LOC.
I think it came out really well. I ran the cards XY-90. I am overwhelmed by how good this mic sounds at a $500 price point. I think I posted somewhere else that it would even be a steal at its MSRP. There is an intensity to the sound that you don't neccesarily get from a stereo pair of mics. Now I do think that they are probably not in the same league as the 414s or 140s, but I am still damn impressed and I am going to run this mic a good few times before I go back to either of my other pairs of mics. I can't wait to run it M/S, and blumlein. Also can't wait to see what it does in different venues and for different types of acts.
My analysis of the sound so far:
It has a nice warm, and smooth sound. Very detailed in the upper end, despite a slight disappointment in the cymbals of the drum kit. But I also think that the drum kit was either not mic'ed up very well or was not mixed in very well. Because the kick drum also lacked some definition. Karl D's flute sounded amazing though, and vocals were super clean. Even with the missing definition in the kick drum, I really liked the bass. It can get a little sloppy at times but overall it's really FAT and smooth. I am no expert here by any means but I do really like the mic a lot and am very very very satisfied with the recording. I think if for some reason my km140s and 414s were both to just explode randomly, I would still feel confident going into the next show that I was gonna pull a very very nice recording with the LSD2>V3. I am going to have to run it a least a couple more times to get a good feeling on how much I really like it.
I did notice how shitty the pins in the connector at the bottom of the mic are. I tried to just do it by feeling around and then guessing where the pins were when I tried to insert the xlr end, while the mic was already up there in the mount and I couldnt exactley see pins. I am not too fond of that "procedure" with this mic. From now on I will connect the xlr with the mic upside down, so I can stare right into it and not fumble around with the pins. Then slide the mic up into the mount.
I can't wait to run it again.
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wait till you get to run in in a "sweet spot". that thing is 3-D.
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How do you guys set this thing up? I could use a dummy guide. Do you have the Studio Projects logo facing the stage? And then how exactly do you configure for XY 90? Seems like you have to twist the mic body a bit. Nick, maybe you could post photos or something.
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How do you guys set this thing up? I could use a dummy guide. Do you have the Studio Projects logo facing the stage? And then how exactly do you configure for XY 90? Seems like you have to twist the mic body a bit. Nick, maybe you could post photos or something.
The logo(and 7 pin) face foreward and left. Then you line the dots on the top capsule up so they match at 90*
JAson
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put another way, the logo and 7pin align with the bottom capsule. If you're running x/y 90, you'd want the logo and the capsule pointing 45degrees to the right of the sound source and the top capsule pointing 45degrees to the left of the sournd source
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thanks, though a photo would be great. I'm so challenged in this regard.
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Darrin...
doesnt what you describe make the top the "left" and the bottom the "right" channels ?
which would be backwards from design ?
as mentioned.
the top capsule turns in both directions. line them up so they are both facing forward. then twist the top capule to the right (the short travel direction). then twist the mic in the shockmount to the left, lining up the dots so that your target is in line w/the dot, which is directly in between the two capsules and represents the 45deg mark.
w/the two other coincident stereo mics like this i've owned or used, that is how it was. I can't see this mic being different.
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Darrin...
doesnt what you describe make the top the "left" and the bottom the "right" channels ?
which would be backwards from design ?
as mentioned.
the top capsule turns in both directions. line them up so they are both facing forward. then twist the top capule to the right (the short travel direction). then twist the mic in the shockmount to the left, lining up the dots so that your target is in line w/the dot, which is directly in between the two capsules and represents the 45deg mark.
w/the two other coincident stereo mics like this i've owned or used, that is how it was. I can't see this mic being different.
I am pretty sure you are right on on this one. That was the only way I was able to configure it to an XY-90 and still have it centered with the sound source.
Now which xlr is which again? The red is left and the black is right or vice versa?
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Would it be possible to run two LSD2's as a stereo pair (with regular xlr's so there's one mic per channel) for some quasi-four cap action? or is this crazy talk? I'm thinking split LSD's in omni mode would be pretty far out.
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this would be doable if you had a pair of xlr(female)> xlr (male) extension cables. The stock lsd2 mic cable is one long cable that terminates in 2 foot long individual (normal) male xlr connectors.
Nick, sorry, you're absolutely right, I had a 50/50 chance on that one :)
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yea, its sort of a crap shoot the other direction, twisting the cap to the left allows for wider angles (and reversed channels), but you have to eyeball it.
the XLR cables, red is supposed to be right. mine is left, so you'd best check that out.
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How do you guys set this thing up? I could use a dummy guide. Do you have the Studio Projects logo facing the stage? And then how exactly do you configure for XY 90? Seems like you have to twist the mic body a bit. Nick, maybe you could post photos or something.
The logo(and 7 pin) face foreward and left. Then you line the dots on the top capsule up so they match at 90*
JAson
I have painted small orange paint marks on mine.
I'm half-blind, as well as half-lame. ::)
A short vertical line indicates X-Y front for 90^ and two dots line up for 90^ of rotation
It's easier to tweak from this starting point.
Don't go into a crowded, dark section with out guidemarks.
Also, a small piece of gaffer's tape will help hold the 90^ spacing as you wiggle on the windscreen
I do like the sound, not thrilled 100% with build quality, but what do you want for $700 ?
Rrrrubbbberrrr biscuits ?
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Yeah, that windscreen is tight as hell. Really had to stuggle to get it on at Wanee last weekend. Even made a small cut in bottom to help it along.
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Yeah, that windscreen is tight as hell. Really had to stuggle to get it on at Wanee last weekend. Even made a small cut in bottom to help it along.
would one of the Big Ass Shure or DPA windscreens work? what do people use for SP C3's? ADK TL's? Neumann LD's? hmmm....
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would one of the Big Ass Shure or DPA windscreens work? what do people use for SP C3's? ADK TL's? Neumann LD's? hmmm....
The Shure A81WS and DPA UA0896 are for small diaphragm mics. I use the Neumann WS89 for my AKG C414s. Check the specs on the U87 and U89 to see if one's close in size to the LSD2. If it's close, one of those options might work even with a fair amount of variance.
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Yeah, that windscreen is tight as hell. Really had to stuggle to get it on at Wanee last weekend. Even made a small cut in bottom to help it along.
Yeah, I couldn't get it on either.
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Yeah, that windscreen is tight as hell. Really had to stuggle to get it on at Wanee last weekend. Even made a small cut in bottom to help it along.
Yeah, I couldn't get it on either.
I found that mine had a little more "give" each time I used it but it is still too snug for my taste.
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would one of the Big Ass Shure or DPA windscreens work? what do people use for SP C3's? ADK TL's? Neumann LD's? hmmm....
The Shure A81WS and DPA UA0896 are for small diaphragm mics. I use the Neumann WS89 for my AKG C414s. Check the specs on the U87 and U89 to see if one's close in size to the LSD2. If it's close, one of those options might work even with a fair amount of variance.
I checked the specs on some mics and here's what I found:
LSD2 = 53.34mm diameter
TLM193 = 49mm diameter
U89 = 46mm diameter
the Neumann WS89 is made specifically for the above-referenced Neumann mics but I wasn't able to find it's internal diameter -- only the external which is in excess of 90mm. since the AKG 414 is a rectangular-shaped mic, do you happen to know the actual circumference of the surface area covered by the windscreen in your case, Brian? I assume the WS89 is stretchy, and 4.34mm more than is needed for a TLM193 doesn't seem like much, but before spending $50+ on a windscreen it'd be nice to know it'll fit. thanks.
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I'd also be quite concerned with the HEIGHT of the neumann windscreen as the ws 89 is designed to provide wind protection for a single diagphram and the lsd2 has a pair of 'em.
Might want to check out windscreens that are compatible with the AKG stereo LD mic (422???) as well.
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I checked the specs on some mics and here's what I found:
LSD2 = 53.34mm diameter
TLM193 = 49mm diameter
U89 = 46mm diameter
the Neumann WS89 is made specifically for the above-referenced Neumann mics but I wasn't able to find it's internal diameter -- only the external which is in excess of 90mm. since the AKG 414 is a rectangular-shaped mic, do you happen to know the actual circumference of the surface area covered by the windscreen in your case, Brian? I assume the WS89 is stretchy, and 4.34mm more than is needed for a TLM193 doesn't seem like much, but before spending $50+ on a windscreen it'd be nice to know it'll fit. thanks.
The WS89 is ~43mm (which confuses me a bit since the U89 is spec'd at 46mm). The U87 is spec'd at ~56mm, so similar to the 89s, I assume the WS87 is close to that spec.
Forgot it's dual diaphragm one on top of the other! The WS89 height is ~94mm. Dunno if that'll cover the LSD2 or not, but I'm guessing not.
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here's a link to what the AKG W426 looks like, but it says discontinued by the manufacturer.
http://www.fullcompass.com/Products/pages/SKU--53202
if you can find one, it'd probably work great with the LSD2.... but I don't know if it's an improvement over the stock one...
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FWIW, the WS for the 426B is called the W426. I just ordered a backup for my 426.
They still distribute the 426B kit, which contains the w426,....
Edit:Steve, guess we were posting at the same time. :)
They still make them, but full compass doesnt carry them. Probably have to get from AKG like I did.
Teddy
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I got mine from FC for my 422. it was dirt ass cheap too.
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some more fluffing...I downloaded this just to get another perspective...and dam I am blown away.....
http://bt.etree.org/details.php?id=24461
This is one nice sounding mic....I must resist the urge tooooooooooo......
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has anyone run the LSD2 in omni mode? I'm wondering what the best way to point the caps might be?
----------------------------
stacks-STAGE-stacks
<---O---> (pointing 180 degrees to the sides)
(LSD2)
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also, how long is this mic? I'm wondering if it'll fit in a nice pelican case. :laugh:
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has anyone run the LSD2 in omni mode? I'm wondering what the best way to point the caps might be?
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stacks-STAGE-stacks
<---O---> (pointing 180 degrees to the sides)
(LSD2)
That's what I would go with, but I am not too sure about running it like that. I would only do that if I was way the hell up close to the source, outdoors, and I would think a bass roll off would be absolutley necessary. If you that close, just run it blumlein, or m/s. I know somone on the team has run it m/s with the omni being the mid.
And the mic is about 11 inches long and the case it comes in is 16 inches.
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Pulled a sick recording of the Disco Biscuits tonight with the LSD2! I have to listen to it more and get it on harddrive and to cd before I can really appreciate it, but driving home it sounded amazing. Unless a recording is outstanding, I usually don't dig it too much on the ride home. Taped from the section at 930 club, which is about 40' back and 10' LOC. I can't believe the results i have heard so far. Nice...very nice...
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my best recording w/mine thus far was similar....40' off stage and 10' LOC. Its freakin' magic.
Love that big Donky !
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I need one of these mics!! (Pennies are being saved.)
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Pulled a sick recording of the Disco Biscuits tonight with the LSD2! I have to listen to it more and get it on harddrive and to cd before I can really appreciate it, but driving home it sounded amazing. Unless a recording is outstanding, I usually don't dig it too much on the ride home. Taped from the section at 930 club, which is about 40' back and 10' LOC. I can't believe the results i have heard so far. Nice...very nice...
just making some notes here.... what config did you use?
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why, XY at 90, of course.
:)
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why, XY at 90, of course.
:)
Yup, yup!
That is the other great thing about this mic. No f'ing around with two different mics and configs and all that. I can honestly be up and running in under 5 minutes. Lastnight I was clamped on to someone's stand with 2 other pairs of mics. I just made sure the caps were aligned the way I wanted them, clamped the shockmount and stuck the mic in, plugged in the xlr and just got out of the way while the other two tapers took like 15 minutes to set up and config thier mics.
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really easy to deal with, agreed.
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have you guys figured out a good way to carry the mic without the case? Someone suggested a poster tube but I haven't tried that yet.
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have you guys figured out a good way to carry the mic without the case? Someone suggested a poster tube but I haven't tried that yet.
I got a large size clear hard plastic pencil box from Staples and put some pieces of foam in it, works fine. It should be available at all their stores.
Jeff
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how much have people been paying for this guy new or used? i have seen some fluctuations lately.
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how much have people been paying for this guy new or used? i have seen some fluctuations lately.
I think I paid about $550 for it a few months ago.
Jeff
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got mine for $500
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got mine for $500
as for carrying it, I stuff it in my bag w/the windscreen on and a cap over the DIN plug. it stands up and is protected in my bag.
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where are they $500.00
I asked Doug at soundpure he said $549.00
I'm getting one in a few weeks, I think.........
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soundpure used to have them for 500 shipped. the price went up a little bit, but its still worth it.
shit, it could be 1549 and still worth it.
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soundpure used to have them for 500 shipped. the price went up a little bit, but its still worth it.
shit, it could be 1549 and still worth it.
you had to go and get me all excited with that '1549 and still worth it' comment :P
now I'll have to wait impatiently till next Friday when I order, not to mention waiting for it to ship...... :bawling:
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well...
seriously, i'm not full of shit on that. shure, its IMO...fwiw and all that. But i've owned a LOT of mics over the years, ranging in price from $100 > $5k. This thing easily performs well beyond its cost.
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I was reading the outdoor Blumlein (http://taperssection.com/index.php?topic=66763.0) thread and wondered how good the standard windscreen was, and whether I need to go shopping for dead rat fur. Experiences?
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I was reading the outdoor Blumlein (http://taperssection.com/index.php?topic=66763.0) thread and wondered how good the standard windscreen was, and whether I need to go shopping for dead rat fur. Experiences?
The stock screen does not cut it outside. I made a rat for mine and got much better results.
JAson
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question about omini mode: how would I configure the capsules for regular outdoor PA recording and would that change for onstage?
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I can't see running coincident omnis together as resulting in anything more than a mono signal. that said, an omni and a figure of 8 in M-S mode would work well.
if you are outside and wanting to run omnis, as I believe Craig said...., just run blumlein. its the most "air" you can catch really (w/that mic).
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Just got mine today. Few questions - which controls work for each of the capsules (not sure how to word that)? Just to clarify, does the front controls (the side with the Studio Projects logo) for polar pattern and amp work for the bottom or top capsule? My gut is telling me bottom for front, back for top. Couldn't find it in manual. Also, how long is the calbe? Seems about 20'. Just wanted to know. Looking forward to playing with this tomorrow.
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you got it right. front=bottom, back=top
top is supposed to be the right channel
cable is '20
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how would Blumlein work with this mic? both caps at omni, but spaced 60-90 degrees? thanks.
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Wouldn't that be both caps at Figure 8 and 90?
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yep, blumlein is crossed figure 8 mics at 90 degrees.
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yep, blumlein is crossed figure 8 mics at 90 degrees.
ok, thanks.
90 degrees like this: X
or 90 degrees like this: +
in relation to the sound source?
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likeada X
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Hey Nick, got your 660 yet? Did you get the w-mod version?
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nope, not yet.
going w/the ol' straight dope ACM for now.
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and make sure that you are far enough away so that the array is able to fit the entire ensemble in that radius..too close to the source(even if all are in the radius), and the spread will be unnatural......also , technically , the loudspeakers in your listening space need to be at 90 degrees to enjoy the full benefit of blumlein recording.. a real quick trick that I learned from a mentor of mine i is to stick a finger (or earphone) over one ear, and move around until you can find an area where the balance and tone sits perfectly.What this does is prevent your brain from doing binaural processing, which changes your sense of the direct/reverberant sound ratio...an excellent tool for getting the right placement!
yep, blumlein is crossed figure 8 mics at 90 degrees.
ok, thanks.
90 degrees like this: X
or 90 degrees like this: +
in relation to the sound source?
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and make sure that you are far enough away so that the array is able to fit the entire ensemble in that radius..too close to the source(even if all are in the radius), and the spread will be unnatural......also , technically , the loudspeakers in your listening space need to be at 90 degrees to enjoy the full benefit of blumlein recording.. a real quick trick that I learned from a mentor of mine i is to stick a finger (or earphone) over one ear, and move around until you can find an area where the balance and tone sits perfectly.What this does is prevent your brain from doing binaural processing, which changes your sense of the direct/reverberant sound ratio...an excellent tool for getting the right placement!
yep, blumlein is crossed figure 8 mics at 90 degrees.
ok, thanks.
90 degrees like this: X
or 90 degrees like this: +
in relation to the sound source?
thanks Teddy. you're a wealth of knowledge as usual! :)
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No problem man, once you get into blumlein, you may find other configs inferior!. I know that I prefer it every time in a good room!
and make sure that you are far enough away so that the array is able to fit the entire ensemble in that radius..too close to the source(even if all are in the radius), and the spread will be unnatural......also , technically , the loudspeakers in your listening space need to be at 90 degrees to enjoy the full benefit of blumlein recording.. a real quick trick that I learned from a mentor of mine i is to stick a finger (or earphone) over one ear, and move around until you can find an area where the balance and tone sits perfectly.What this does is prevent your brain from doing binaural processing, which changes your sense of the direct/reverberant sound ratio...an excellent tool for getting the right placement!
yep, blumlein is crossed figure 8 mics at 90 degrees.
ok, thanks.
90 degrees like this: X
or 90 degrees like this: +
in relation to the sound source?
thanks Teddy. you're a wealth of knowledge as usual! :)
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it is the "only way to fly" when placement is up to you.
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well, I got my LSD2 on Thursday and ran it 6-7 times at 10KLF over the weekend. my first impressions:
small outdoor stage: M/S sounds amazing; XY90 is decent.
large outdoor stage: M/S sounds very nice; XY90 is decent.
indoor small stage: XY is very nice.
these quick reviews are based on some headphone listening and a little at home listening with my Bose surround sound speakers. I'll hopefully get a chance to do some more critical listening on my nicer loud speakers tonight.
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I am now a full-fledged LSD2 fluffer. ;D nice highs, nice lows, nice everything in between.
anyone interested in it's capabilities can check my recording of WEEN from Tuesday:
http://taperssection.com/index.php?topic=69514.0
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you got it right. front=bottom, back=top
top is supposed to be the right channel
cable is '20
Seems like lately that the top is left and the bottom is right. Just did a quick test and this is the result I got. It is supposed to be the other way?
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that is normal on all the stereo mics ive used.my 426b is this way also.
you got it right. front=bottom, back=top
top is supposed to be the right channel
cable is '20
Seems like lately that the top is left and the bottom is right. Just did a quick test and this is the result I got. It is supposed to be the other way?
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teddy....your 426 is top = right channel.
right?
not sure who you are agreeing with as you have two quotes going on.
fwiw, my LSD is top = left. which I know is backwards.
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I'm pretty sure I want this mic. A lot.
But it will be a while. >:(
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teddy....your 426 is top = right channel.
right?
not sure who you are agreeing with as you have two quotes going on.
fwiw, my LSD is top = left. which I know is backwards.
yes..top is right. bottom is left. this is easily determined which way the capsule systems rotate..if it is to the right..it is a right capsule!
AKG 426 ..the top rotates to the right..
of course you can change the plugs to be whatever you want.
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but of course.
also, it depends on mic orientation. for example..hanging it upside down reverses everything.
If your 426 is like my ol' 422, the top rotates 90deg only and the bottom rotates 45deg to the left, thus making a perfect 90deg w/the logo facing forwards.
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but of course.
also, it depends on mic orientation. for example..hanging it upside down reverses everything.
If your 426 is like my ol' 422, the top rotates 90deg only and the bottom rotates 45deg to the left, thus making a perfect 90deg w/the logo facing forwards.
with my 426, both rotate completely.
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Ooohhhhh...
:)
nice.
the 422 was fixed as I just said. the only problem w/that was running angles wider than 90deg XY, which I never did any way.
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Ooohhhhh...
:)
nice.
the 422 was fixed as I just said. the only problem w/that was running angles wider than 90deg XY, which I never did any way.
I have a 422 in my sights too.... ;)
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its not that nice, imo.
i'd take a pair of 414s any day.
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Just wanted to double check on this. Is the dot on the top part the front of the capsule? Seems like it would be.
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Just wanted to double check on this. Is the dot on the top part the front of the capsule? Seems like it would be.
yes.
Easiest way to be sure is to plug it in and talk into it of course.