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Gear / Technical Help => Microphones & Setup => Topic started by: Pieteker on November 05, 2025, 04:25:35 AM
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I'm looking at getting the Sound Professionals SP-CMC-4U mics and I’m a little confused about whether I need the 4.7k low-sensitivity mod.
My recorder is a Zoom F3, which supplies regular 24/48V phantom power.
From what I understand:
- The mini-jack (3.5mm) version of these mics can clip on loud concerts unless you get the 4.7k mod.
- The Phantom 48V XLR version has an internal circuit that steps phantom down to around ~9–10V and has a much higher SPL handling (around 139 dB).
What I’m not sure about is:
If I'm using the Zoom F3, do I still need the 4.7k mod, or is the XLR Phantom 48 version already safe for loud shows?
I'm planning on recording loud rock/metal gigs, so headroom matters.
If anyone has experience running these mics with the F3, I’d love to hear your thoughts.
Thanks!
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The white at853's you had were perfect for this. :shrug:
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The white at853's you had were perfect for this. :shrug:
Well, the ones I had before were white and didn’t have XLR plugs, which would be way more convenient now since I’m recording exclusively with my Zoom F3.
I know it’s kind of funny and weird that I’m about to buy the same mic I sold just a month ago, but I really regret that decision, especially after listening back to some of the tapes I recorded with them.
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It's a pitty the original question wasn't answered, as I am in kind of the same situation as the Pieteker.
I'm considering getting the SP-CMC-8 for my Tascam FR-AV2. This recorder has XLR inputs with 24V/48V phantom, and 3.5mm mini-jack with 2.5V/5V PIP.
So what would anybody advice, and why:
1) SP-CMC-8 with XLR connectors. These only come with 'standard sensitivity'
2) SP-CMC-8 with mini-jack, with low-sensitivity option
(I assume SP-CMC-8 with mini-jack with 'standard sensitiviy' is not advisable, as I will be recording mostly higher-volume apmplified stuff)
Or does anyone have better suggestions for a set of stealth cardioid mics within a ~US$500 budget? E.g. what about the SP-CMC-4? Are they just as good, but only a bit bigger and cheaper than the SP-CMC-8's?
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It's a pitty the original question wasn't answered, as I am in kind of the same situation as the Pieteker.
I'm considering getting the SP-CMC-8 for my Tascam FR-AV2. This recorder has XLR inputs with 24V/48V phantom, and 3.5mm mini-jack with 2.5V/5V PIP.
So what would anybody advice, and why:
1) SP-CMC-8 with XLR connectors. These only come with 'standard sensitivity'
2) SP-CMC-8 with mini-jack, with low-sensitivity option
(I assume SP-CMC-8 with mini-jack with 'standard sensitiviy' is not advisable, as I will be recording mostly higher-volume apmplified stuff)
Or does anyone have better suggestions for a set of stealth cardioid mics within a ~US$500 budget? E.g. what about the SP-CMC-4? Are they just as good, but only a bit bigger and cheaper than the SP-CMC-8's?
Yes the AT853 aka SP-CMC-4 are a liitle bigger but sound better than the smaller at943 aka SP CMC 8.
You need the Low sensitivity mod for sure on the mini jack version of AT853
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It's a pitty the original question wasn't answered, as I am in kind of the same situation as the Pieteker.
I'm considering getting the SP-CMC-8 for my Tascam FR-AV2. This recorder has XLR inputs with 24V/48V phantom, and 3.5mm mini-jack with 2.5V/5V PIP.
So what would anybody advice, and why:
1) SP-CMC-8 with XLR connectors. These only come with 'standard sensitivity'
2) SP-CMC-8 with mini-jack, with low-sensitivity option
(I assume SP-CMC-8 with mini-jack with 'standard sensitiviy' is not advisable, as I will be recording mostly higher-volume apmplified stuff)
Or does anyone have better suggestions for a set of stealth cardioid mics within a ~US$500 budget? E.g. what about the SP-CMC-4? Are they just as good, but only a bit bigger and cheaper than the SP-CMC-8's?
Chris from Sound Professionals recommended using the SP-CMC-4U Phantom-48 (XLR) with the Zoom F3. It handles 139 dB SPL, doesn’t require the 4.7k mod, and includes a Naiant circuit that safely converts phantom power, making it fully compatible for loud shows without clipping. Using the XLR connectors also prevents accidental disconnects, which can sometimes happen with mini-jack plugs. This setup would also work very well with your Tascam FR-AV2.
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Well… change of plans.
After all that research, emailing, and overthinking, I bought a pair of Line Audio CM3s instead (and I absolutely love them).
So for now, I’m not looking to buy the SP-CMC-4Us anymore.
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Well… change of plans.
After all that research, emailing, and overthinking, I bought a pair of Line Audio CM3s instead (and I absolutely love them).
So for now, I’m not looking to buy the SP-CMC-4Us anymore.
In my humble opinion, you made a great and correct choice.
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Chris from Sound Professionals recommended using the SP-CMC-4U Phantom-48 (XLR) with the Zoom F3. It handles 139 dB SPL, doesn’t require the 4.7k mod, and includes a Naiant circuit that safely converts phantom power, making it fully compatible for loud shows without clipping. Using the XLR connectors also prevents accidental disconnects, which can sometimes happen with mini-jack plugs. This setup would also work very well with your Tascam FR-AV2.
Thanks, I was thinking the same line as Chris, yet still doubting between SP-CMC-4 and SP-CMC-8. Only downside of XLR I can think of, is that they won't connect to my good ol' Edirol R09-HR as a backup. This may no weight up against the benefits, though. I especially like the ruggedness of XLR. The CM3's seem great, but less suitable for stealth.
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Chris from Sound Professionals recommended using the SP-CMC-4U Phantom-48 (XLR) with the Zoom F3. It handles 139 dB SPL, doesn’t require the 4.7k mod, and includes a Naiant circuit that safely converts phantom power, making it fully compatible for loud shows without clipping. Using the XLR connectors also prevents accidental disconnects, which can sometimes happen with mini-jack plugs. This setup would also work very well with your Tascam FR-AV2.
Thanks, I was thinking the same line as Chris, yet still doubting between SP-CMC-4 and SP-CMC-8. Only downside of XLR I can think of, is that they won't connect to my good ol' Edirol R09-HR as a backup. This may no weight up against the benefits, though. I especially like the ruggedness of XLR. The CM3's seem great, but less suitable for stealth.
In my experience, the SP-CMC-4Us perform better when powered higher — I heard an improvement even switching from a 9v battery box to a 12v one. So not having to rely on the Tascam's 5v PIP seems like an excellent reason to go with XLR attachments.
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Chris from Sound Professionals recommended using the SP-CMC-4U Phantom-48 (XLR) with the Zoom F3. It handles 139 dB SPL, doesn’t require the 4.7k mod, and includes a Naiant circuit that safely converts phantom power, making it fully compatible for loud shows without clipping. Using the XLR connectors also prevents accidental disconnects, which can sometimes happen with mini-jack plugs. This setup would also work very well with your Tascam FR-AV2.
Thanks, I was thinking the same line as Chris, yet still doubting between SP-CMC-4 and SP-CMC-8. Only downside of XLR I can think of, is that they won't connect to my good ol' Edirol R09-HR as a backup. This may no weight up against the benefits, though. I especially like the ruggedness of XLR. The CM3's seem great, but less suitable for stealth.
If it fits in a hat, it can be used for stealth. I stealth with a pair of schoeps cmbi all the time.
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Sure with the right attitude you can pull almost anything off. Still remains true that smaller is easier to get away with.
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Sure with the right attitude you can pull almost anything off. Still remains true that smaller is easier to get away with.
Haha, yes, I know I'd feel much more comfortable walking in with SP-CMC-4 or even better SP-CMC-8-sized mics stuffed away. I'm not much of a hat-guy :bigsmile:
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Sure with the right attitude you can pull almost anything off. Still remains true that smaller is easier to get away with.
This is true.
For ultra stealth situations or rainy outdoor shows I keep the at-853's
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Hey all — just wanted to chime back in since I’ve been going down this same rabbit hole.
I'm a newer generation taper but ended up going with the **SP-CMC-8 in the XLR / Phantom-48 version**, paired with the **Zoom F3**. After digging through a ton of posts and talking with Sound Professionals, the main reasons I chose this route were:
- The XLR version has the higher SPL handling (around 139 dB) and doesn’t need the 4.7k mod
- Built-in phantom conversion circuit, so it plays perfectly with the F3
- No mini-jack disconnect anxiety
- Small enough for clean stealth mounting
I’ll be running them hat-mounted for loud indoor shows and will come back with impressions once I’ve had a chance to test them a bit.
Appreciate all the info in this thread — super helpful.
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That's a great rig! Welcome on the forum and enjoy taping!
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I eventually went for the SP-CMC-4 XLR-version, which arrived a few days ago. Apparently they sound a bit better than the SP-CMC-8 and are a bit budget-friendlier, so I took the slightly bigger size for granted. In 1.5 week I'll be taping my first show with them, looking forward to it! I am a bit in doubt for this particular show as it won't be a very loud gig (amplified acoustic). I might try to record it both with the SP-CMC-4's/FR-AV2 combination AND my Edirol R09-HR/Clippies combo and compare results afterwards. I taped a similar show before with the FR-AV2/Clippies and was impressed with the results, although it benefited a lot from a perfectly silent audience during the songs: https://www.youtube.com/watch?v=MIT0RaKLGw4
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I eventually went for the SP-CMC-4 XLR-version, which arrived a few days ago. Apparently they sound a bit better than the SP-CMC-8 and are a bit budget-friendlier, so I took the slightly bigger size for granted. In 1.5 week I'll be taping my first show with them, looking forward to it! I am a bit in doubt for this particular show as it won't be a very loud gig (amplified acoustic). I might try to record it both with the SP-CMC-4's/FR-AV2 combination AND my Edirol R09-HR/Clippies combo and compare results afterwards. I taped a similar show before with the FR-AV2/Clippies and was impressed with the results, although it benefited a lot from a perfectly silent audience during the songs: https://www.youtube.com/watch?v=MIT0RaKLGw4
Another Dutch taper! :headphones:
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That's a great rig! Welcome on the forum and enjoy taping!
Thanks, I admire those Final Audios! An finally glad to be part of this community! I have a wide range of musical tastes, but I’ve always appreciated the taping scene because of The Dead. After documenting for so long through photography, switching over to capturing live shows for my own Hi-Fi enjoyment and helping preserve less-documented music scenes feels like a great new chapter.
Interested to see some of the samples of the SP-CMC-4 XLR-version. I also chose cardioids because I want to use these as a sort of “ears” for my hi-fi setup at home, so the directionality and cleaner channel separation felt like the right move for both taping and playback.
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That's a great rig! Welcome on the forum and enjoy taping!
Thanks, I admire those Final Audios! An finally glad to be part of this community! I have a wide range of musical tastes, but I’ve always appreciated the taping scene because of The Dead. After documenting for so long through photography, switching over to capturing live shows for my own Hi-Fi enjoyment and helping preserve less-documented music scenes feels like a great new chapter.
Interested to see some of the samples of the SP-CMC-4 XLR-version. I also chose cardioids because I want to use these as a sort of “ears” for my hi-fi setup at home, so the directionality and cleaner channel separation felt like the right move for both taping and playback.
Great! Nice to see a fellow Dutch taper here (I'm Dutch as well).
I understand the choice of cardioid mics! Hypers are nice as well, but sometimes a bit too thin. I often use hypers though, to prevent taping audience chatter.
The Finals are great. Not cheap, but buy once, cry once. Hopefully they will last my lifetime.
It's my preferred way of listening to concert recordings: dap with a nice pair of headphones.