HI All,
Thanks for your replies. I think I understand more now. See what you get for being helpful.....more questions!! I followed the links and read the associated threads. You all definitely speak a new language. For example, the internet has no idea what MBHO means except for some health care definitions. I don't think that is what you are saying. So, what exactly does MBHO mean? And kwan bar (I think I know what this one is from the pictures)?
You'll find some info about MBHO's mics here, the company site will have the cap model numbers (e.g. kn200) that you can use when searching. First two results for "mbho" on google are for the company site.
Robert Kwon crafted the original bars. They are made of either PVC or delrin (depending on who made them, the originals are delrin IIRC) and they are cut on the ends in two ways; one is across the end at an angle, the other is a slit down the shaft of the bar. The first cut creates the angle of the caps (and spacing by how much is cut off) and the slit is for the cable exists behind the capsule. Models are almost always specific to a mic brand as the cap distance is different (so bar lengths will be different, e.g. for a true ORTF setup)
I think I must be missing something. Are you saying the only reason to go to capsules is to reduce the visual impact of a full bodied mic? Gaining more options are also mentioned. How does a capsule give those options. Some examples might help. How does reducing the visual impact help and why is it important? Mics aren't THAT big, are they? You must think these issues are important because you all are clearly jumping through hoops to use capsules.
Really it basically is visual impact and options;
- Often times people here will want to setup their recording gear in densely packed places or between the sound crew and the stage (hence forth known as FOB, Impact Zone, Up Front, etc). To run a full set of bodies in these circumstances is more likely to incur a request to move out of the way by venue staff due to the visual impediment compared to someone who has a very low visual foot print.
- Some folks like to use their gear in situations where they are not supposed to (either completely, or it is frowned upon by bands/venues/etc). So being visually transparent is considered a real benefit in these situations. For example, one would have much more trouble recording in front of the soundboard at a Phish show with LD mics compared to SD mics that employ a remote-style setup. (other precautions are advised in addition to, but a smaller footprint still holds true
Second, as for options. With the Schoeps line, if you buy the CCMs, you pay for the cap and body circuitry each time you purchase a new pattern. With a single set of CMC bodies, you can then buy a set of MK4V caps, MK41 caps, MK21 caps, etc. That selection of caps (and polar patterns) is the noted "options", instead of having to purchase the body circuitry over and over again, you have a modular setup that can be purchased in pieces. Not every manufacturer will do this, but the majority seem to be open to that.
What are the sonic consequences of using capsules? Are they offering improved sonics or are they mostly a logistical issue?
Just logistical. In the case of Schoeps, the MK series of caps that are used in the remote line are the same caps that are used in either the CCM or full body line.
Most of the time if there is a remote edition, it's the same capsule in a different setup rather then a different sounding product all together.
One last one. Are use of capsules rather than complete mics an exotic practice? So, are capsules used mostly for the individulal insruments or overall stage coverage? I have never seen a capsule on a stand in front of the singer.
(note, I rearranged your post so I'd only have to quote/reply once, this was intentional)
It's uncommon as
a whole, and generally centered on a few applications/genres (Theater and Orchestral music come to mind where a small visual foot print is valued). The places I've seen them used professionally (again, going back to the theater and orchestra examples), they are used as fill/room mics and not as spot mics.
Are they "bleeding edge" technology? I ask because I have never noticed their use before. Do I just need to be more observant? And I have also noticed that many mic manufacturers do not offer just a capsule. So, this must not be a universal practice, at least not yet. Obviously, a singer who likes to hand hold a mic needs a complete mic.
Schoeps and Neumann have done remote setups since at least the 80s. DPA has traditionally made very small setup which many here have considered comparable to a "cap system" because of it's size and remote-ness although it is only recently that DPA has introduced a true cap changeable system. Otherwise, you wouldn't necessarily see them in a studio (being unobtrusive isn't a value there), or on stage (cost), or at the mixing desk at a concert for a band's fill channels (again, they don't care, no incentive).
Off the top of my head, Schoeps has the largest selection of remote cap options, while Neumann, MBHO, beyerdynamic, milab, (now) DPA, and (only very special vintage setups) AKG all have selections that folks here will use to some degree or another. There are probably some others, it's early in the morning where I am.
Topic: Mic Capsules (Read 6645 times)