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Gear / Technical Help => Microphones & Setup => Topic started by: lds490 on July 26, 2006, 07:26:56 PM
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Just got my SP newsletter:
Though we've established a reputation for delivering great sounding microphones at a reasonable price, we really haven't made many changes since we first introduced the C Series designs in 1999 and the B Series in 2002.
Engineered from the "ground up" to deliver superior performance, our new microphone product line will not only deliver the goods, but deliver them in style!
As you can see, all the mics have received a "face lift", a sleek new look that belies the price point. The physical changes aren't just cosmetic. We've improved the headstock by using a wider, heavier mesh that is not only more sturdy, but is less acoustically intrusive.
Then look under the hood, and you'll find changes there as well. We've updated the capsules and electronics to deliver improved sonic characteristics, greater dynamic range and lower noise (though they were already pretty darn quiet).
Additionally, we've added features on some models such as 75Hz and 150Hz High Pass Filters and - 10dB and -20dB Pads. The C3 now has 27 possible variations of settings!
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Found this picture (click and it cycles through various designs).
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Hmmm. Are those new shockmounts by SP too?
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Anyone know what upgrades were made to the LSD2 (if any)? I don't see it in the pics above. I hope they vamped the exterior and interior.
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Anyone know what upgrades were made to the LSD2 (if any)? I don't see it in the pics above. I hope they vamped the exterior and interior.
They updated the website today with the new pics. LSD2 has the new body, and I'm assuming the revamped interior. Looks much more professional IMO.
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With regards to mechanical upgrades, there is no real change other than the change in the grill geometry and the new heavier layer of mesh.
Electronically, the output has increased by several dB, resulting in improved signal to noise. There was also a capacitor change in the high impedance section for sonic reasons.
Overall, the changes result in lower noise, increased sensitivity and improved low end response.
Also, the LSD2 now ships with the newly designed Halo shockmount, which holds the mic much better than the old clamp style mount.
Street price is around $659.99 and they are shipping as of today.
If you have any further questions, let me know.
Sincerely,
Brent Casey
Product Design and Engineering
PMI Audio Group
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Got my LSD2 in the mail yesterday. It's a nice looking mic. The threads on the bottom of the mic aren't actually for the 7-pin xlr connector, but to thread the mic into the new Halo shockmount. The shock mount is pretty slick. I'll take a picture of it when I get a chance. The cable is evidently still a POS, though. My $0.02.
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Got my LSD2 in the mail yesterday. It's a nice looking mic. The threads on the bottom of the mic aren't actually for the 7-pin xlr connector, but to thread the mic into the new Halo shockmount. The shock mount is pretty slick. I'll take a picture of it when I get a chance. The cable is evidently still a POS, though. My $0.02.
Gee, if only you knew someone who made cables.... ;)
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Got my LSD2 in the mail yesterday. It's a nice looking mic. The threads on the bottom of the mic aren't actually for the 7-pin xlr connector, but to thread the mic into the new Halo shockmount. The shock mount is pretty slick. I'll take a picture of it when I get a chance. The cable is evidently still a POS, though. My $0.02.
Matt, +T you slut ;D I need me an LD or two myself, still debating on 3 types of LD's:
1. LSD2 Stereo Mic
2. SP C3's with the same capsule as the LSD2, just a stereo pair of mics instead or A stereo mic, with cardiod/figure-8 :drool: /omni...pretty much all i crave out of an LD anyway, it if had a subcard liek the XLS it would be a no-brainer OOOOORRRRRRR
3. ADK TL's, they have the hypers/cards/fig-8/omni and sound pretty damn good, i have never heard the TL>Sax sound but I bet itys pretty damn solid as the TL's have a nice thumping low-end and im sure the sax handles that with pride, and levels it out perfectly. I actually really wanna run ADK TL's>sax at times, i havent heard enough of the SP LSD2 or the C3's(same capsule) to make a decision, but i DO like alot of the SP c4's tapes ive heard and they are half as much for the c3's as the TL's are........hmmmm, decisions, decisions......
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Got my LSD2 in the mail yesterday. It's a nice looking mic. The threads on the bottom of the mic aren't actually for the 7-pin xlr connector, but to thread the mic into the new Halo shockmount. The shock mount is pretty slick. I'll take a picture of it when I get a chance. The cable is evidently still a POS, though. My $0.02.
Matt, +T you slut ;D I need me an LD or two myself, still debating on 3 types of LD's:
1. LSD2 Stereo Mic
2. SP C3's with the same capsule as the LSD2, just a stereo pair of mics instead or A stereo mic, with cardiod/figure-8 :drool: /omni...pretty much all i crave out of an LD anyway, it if had a subcard liek the XLS it would be a no-brainer OOOOORRRRRRR
3. ADK TL's, they have the hypers/cards/fig-8/omni and sound pretty damn good, i have never heard the TL>Sax sound but I bet itys pretty damn solid as the TL's have a nice thumping low-end and im sure the sax handles that with pride, and levels it out perfectly. I actually really wanna run ADK TL's>sax at times, i havent heard enough of the SP LSD2 or the C3's(same capsule) to make a decision, but i DO like alot of the SP c4's tapes ive heard and they are half as much for the c3's as the TL's are........hmmmm, decisions, decisions......
Hey Bean I am having the same problem.........LSD2 or TL's...
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I wanted the option to run a more lo-pro & simple setup and wanted to be able to run M/S and Blumlein. There a couple venues I record in that I don't have the space or time to set up and breakdown the 460's. I've wanted actives, and ran the AKG actives for a good time, but I like the sound of the bodies & caps without the cables better. Additionally, I don't want to spend the ching to move to Neumanns or Schoeps. So, the LSD2 meets those criteria for cheap. Realistically, I hardly ever run split omnis. If I do, I have the ck62's. Also, by picking up the LSD2 and keeping the AKG's I can run 4 mic mixes.
For the sound quality, ease of setup, M/S & Blumlein capabilities, and the cheap cost I don't the LSD2 can be beat. No way do I want to lug around 2 LD's and have to mess with the setup time. I'm too lazy.
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I haven't gotten to take pictures yet, but saw that they updated the website with the new retail packaging that shows the new halo mount. The threads on the bottom of the mic actual screw into the halo mount.
(http://www.studioprojectsusa.com/images/lsd2/lsd2_package.gif)
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Hey Bean I am having the same problem.........LSD2 or TL's...
I had the same problem before I got my TLs... I think that question basically boils down to convenience vs. options. the lsd2 in convenient, and the the TLs give you options. I decided to go with TLs because at the time they were going to be my only mics. I wanted to be able to run a wide variety of mic configurations so that I could do whatever a taping situation required. Sometimes DIN is called for, sometimes NOS, sometimes split omnis, sometimes blumlein, and I didn't want to get into a situation where I had to run a less than ideal configuration because it was all that I could do.
Iif you are comfortable being limited in your options or you are picking up the LSD2 as a secondary mic than it's a great choice. You can get the LD sound when you want it, you can try out some more exotic techniques (blumlein, mid-side), it's as low pro as an LD setup can get, and it's fairly easy to use.
However if you want to have all the options under the sun, don't mind lugging around two LD mics and shock mounts, and don't mind the extra setup effort then the TLs area great choice.
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I'll just add that sometimes my TL's seem a tad bright to me. Not sure how the new LSD2 sounds, obviously.
How much is the new LSD2?
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$660 shipped for the new version from Sound Pure & another company on Ebay.
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$660 shipped for the new version from Sound Pure & another company on Ebay.
Cool, thanks Matt.
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1. LSD2 Stereo Mic
2. SP C3's with the same capsule as the LSD2, just a stereo pair of mics instead or A stereo mic, with cardiod/figure-8 :drool: /omni...pretty much all i crave out of an LD anyway, it if had a subcard liek the XLS it would be a no-brainer OOOOORRRRRRR
3. ADK TL's, they have the hypers/cards/fig-8/omni and sound pretty damn good, i have never heard the TL>Sax sound but I bet itys pretty damn solid as the TL's have a nice thumping low-end and im sure the sax handles that with pride, and levels it out perfectly. I actually really wanna run ADK TL's>sax at times, i havent heard enough of the SP LSD2 or the C3's(same capsule) to make a decision, but i DO like alot of the SP c4's tapes ive heard and they are half as much for the c3's as the TL's are........hmmmm, decisions, decisions......
I'm running LDs as my primary setup so a pair was essential.
I was not originally looking for LDs specifically. Because I'm taping bands like Mule and Rapdog in smaller venues I really wanted to have the option to run hypers or cards depending on the room. I went with the TLs mainly because they were about all I could find in my price range that gave me both, and LD just happened to be part of the package.
Now I can't say enough good things about the TLs.
I'm truly amazed at the richness of the depth and detail I'm getting from the TLs with silver clad cables. No problem with excessive brightness - the TLs are bangin on the low end.
Four patterns, ability to run any config, a matched pair with all the accessories for $750. That's a lotta bang for your buck. That's why I bought em originally.
But the sound is what I love now. These mics really deliver. ;D
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The TLs sound great, they certainly arn't bright, but I don't think I'd ever describe them as having a ton of low end, especially as far as LDs go. Thats the one thing I miss from when I ran AKGs, the low end... My .02