Taperssection.com
Gear / Technical Help => Microphones & Setup => Topic started by: Napo on June 27, 2011, 12:44:08 AM
-
I am tempted to buy a stereo mic to use with my new Naiant MidBox. I listen to jazz and classical music and my budget is up to 1500$. I tape in semi-stealth situationa in which the CMR capsules I have is handheld (through a short bar) and the mics are not much separated.
I am attracted by the Nevaton MC 48 but Busmann also has a couple of them (one is a ribbon ???).
Any suggestion for the one that would suits me best? What is the advantage over two mics?
Best, Mauro
-
would you be using this in a situation or at a place where you are allowed to record? I just want to make sure I understand this because while some LD mics are stealthable (I've known folks to stealth with the TLM170s) you have to be a real jedi to pull it off...
I have some jazz samples of the busman BSCS-L if you are really interested in that one in particular, but there is zero chance you could stealth with it in a location where it will shine (anywhere near the sound source), same for his ribbon, they are just too big or bulky. The biggest advantage of the stereo mics is less stuff to keep up with, and the possible configuration of mid-side or blumlein.
-
You may be able to find a good priced lsd-2 and as page mentioned, one of the advantages of stereo LD mics is that you can run different patterns.
-
T+ page and rastasean;
for semistealth I intend that e'thing should go in a small bag to pass security at the entrance. Once I am inside, nobody is checking.
Jazz sample with the busman BSCS-L: yes, please. Why did you choose the large diagram over the ribbon?
-
There are some pretty sick deals on Audio-Technica 4050ST's right now. It seems to be on the smaller side as far as LD stereo mics go and it's also completely black so it won't stand out in a crowd too much.
-
There are some pretty sick deals on Audio-Technica 4050ST's right now. It seems to be on the smaller side as far as LD stereo mics go and it's also completely black so it won't stand out in a crowd too much.
Got any links to those deals? I'm not seeing it for less than $1300.00 online.
-
T+ page and rastasean;
for semistealth I intend that e'thing should go in a small bag to pass security at the entrance. Once I am inside, nobody is checking.
Jazz sample with the busman BSCS-L: yes, please. Why did you choose the large diagram over the ribbon?
ribbons are figure 8s only, where as the LD had figure 8, omni, and cardioid patterns.
I'll dig out a sample tonight or tomorrow for you. Sounds nice, but I was all of 12 or 15 feet from the performers...
There are some pretty sick deals on Audio-Technica 4050ST's right now. It seems to be on the smaller side as far as LD stereo mics go and it's also completely black so it won't stand out in a crowd too much.
I saw one earlier on here, but someone painted their LSD2 powder black, ninja-style. If I was going to try and stealth with it, I would too.
-
There are some pretty sick deals on Audio-Technica 4050ST's right now. It seems to be on the smaller side as far as LD stereo mics go and it's also completely black so it won't stand out in a crowd too much.
Got any links to those deals? I'm not seeing it for less than $1300.00 online.
eBay
Some are manufacturer refurbs but the used price also seems to be about the same. Around $700, maybe $650.
-
don't overlook this mic which doesn't come up for sale very often, at least not in the yard
http://taperssection.com/index.php?topic=145428.0
-
LSD2's are a pretty well known entity. There are dozens or hundreds of tapes on the archive made with those. But the LSD2 is big and heavy, and it therefore demands a more rugged stand. To me the words LSD2 and "low profile" don't belong in the same sentence.
Since you have a pretty decent budget, also consider the Peluso P-stereo. http://www.pelusomicrophonelab.com/PStereo.html
It's considerably smaller than the LSD2. It's a little different flavor that may, or may not, appeal to you.
-
I'd go with the MC48 personally, but I may have a slight touch of bias. ;D
We have never made a bad recording with ours and it's not too big and bulky. It also is fairly light, especially compared to the LSD-2.
-
I tape in semi-stealth situationa in which the CMR capsules I have is handheld (through a short bar) and the mics are not much separated.
I re-read your original post, and it sounds to me like an LSD2/Pstereo/etc are probably too big a leap from where you are now. Big mics demand a big stand, etc, not easy to get in the door.
You've got great gear, just try a different mounting setup. For instance your CMR's on a DIN/ORTF bar, with a small FOB stand (compact, goes to about head high), or even a body mounted rig. I can't imagine hand holding... my arms are tired just thinking about it.
-
I can't imagine hand holding... my arms are tired just thinking about it.
small pole (held at waist level if standing) > hand holding. If nothing else then it looks strange for a dude to have one arm cocked up the entire show. Exception being if it's in a cast, but it still looks strange and drawing attention isn't the objective...
I still agree, I'd look at modifying you're CMR setup before I turn toward a stereo LD mic in this situation. Venue staff may not be looking now, but have an LD mic and I suspect they might.
-
Just a heads up: you will need to get your Naiant box retrofitted to run gain without phantom if you go down the path of a Stereo Ribbon. Love my BASR-1 for onstage work running infront of a V3.
~s
-
My goodness, mc48 all day long.
-
Many thanks to you all for the extensive replies and suggestions.
Unfortunately a pole is a no way. Venue staff are not that relaxed :'(
I made an experiment with a short flexible pole connected to a tripod: I was holdining it on the seat between my legs. It came to noting as I got sound inteferences, I guess from the pumping of the large blood vessel we have next to the crouch ;D and other contacts from my body!!!!
As for hend-holding, Italina tapers go to a great lenght to tape in a tape unfriendly environment (which is the case most of the time)
Best,
Mauro
-
I'm in the same situation, and would like a LDC stereo mic for open taping of classical and jazz. After looking around at all the mics mentioned, I'm leaning heavily towards getting this:
http://www.avantoneaudio.com/ck40.htm
It is not an LSD2 with a red paint job. They appear to be totally different mics. I like the fact that I'll be able to do Blumlein with a twist of the top element, something that not all the stereo mics mentioned can do (the AT 4050st has no figure eight). That may not be important to you, and if not, the AT4050st is certainly a proven performer and very reliable.
Here's a review of the CK-40:
http://www.studioauditions.com/gearreviewdetail.php?GearReviewID=166
I emailed the guy who wrote it, and he told me it has performed flawlessly for the 3 1/2 years he's owned it.
-
I like the fact that I'll be able to do Blumlein with a twist of the top element, something that not all the stereo mics mentioned can do (the AT 4050st has no figure eight).
Actually the AT4050ST does have a Figure-of-eight. It just doesn't have the two of them that are necessary for Blumlein.
-
My bad, thankls for the correction.
-
Peluso P-Stereo was my favorite stereo mic ever owned. Here are some samples if wanted...
http://www.archive.org/details/outformation2008-04-25.hometeam.flac16 (midside/fob/dfc))
http://www.archive.org/details/outformation2007-11-29.hometeam.flac16 (bloom'n/onstage)
http://www.archive.org/details/outformation2007-12-01.hometeam.flac16 (xy/fob/dfc)
http://www.archive.org/details/outformation2008-06-21.hometeam.flac16 (bloom'n/onstage)
http://www.archive.org/details/ween2008-01-25.hometeam.flac16 (xy/fob/roc)
-
Just came into say I love my 4050st.
-
Just came into say I love my 4050st.
Since almost all mics these days give a freq response up to 20kHz, I'm surprised the 4050ST only specs 18kHz. Is Audio Technica just being conservative?
-
AT has a good reputation for being honest about specs. I wouldn't worry about that 18k spec....
-
AT has a good reputation for being honest about specs. I wouldn't worry about that 18k spec....
So, you find there's plenty of high end on this mic?
-
AT has a good reputation for being honest about specs. I wouldn't worry about that 18k spec....
So, you find there's plenty of high end on this mic?
You'd be surprised what "air" sounds like and how low that actually is on the frequency chart.
Hell, I can't realiably hear micro detail above 15-16khz anymore and I've taken care of my hearing (wear plugs often, get tested, etc).
-
I'm in the same situation, and would like a LDC stereo mic for open taping of classical and jazz. After looking around at all the mics mentioned, I'm leaning heavily towards getting this:
http://www.avantoneaudio.com/ck40.htm
It is not an LSD2 with a red paint job. They appear to be totally different mics. I like the fact that I'll be able to do Blumlein with a twist of the top element, something that not all the stereo mics mentioned can do (the AT 4050st has no figure eight). That may not be important to you, and if not, the AT4050st is certainly a proven performer and very reliable.
I can't find too many posts on the forum about the Avantone CK-40. Any opinions about its quality vs. the AT4050ST? The refurbished AT's are around the same price now as the CK-40.
-
AT has a good reputation for being honest about specs. I wouldn't worry about that 18k spec....
So, you find there's plenty of high end on this mic?
You'd be surprised what "air" sounds like and how low that actually is on the frequency chart.
Hell, I can't realiably hear micro detail above 15-16khz anymore and I've taken care of my hearing (wear plugs often, get tested, etc).
Sorry to hijack this thread, but I wanted to say thanks to Javier and Page for their advice re the AT4050ST. I ended up getting a refurbished model and I'm really liking it, especially in the 127ยบ setting. Really nice wide ambience.