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Gear / Technical Help => Microphones & Setup => Topic started by: Kyle on September 15, 2007, 10:42:35 PM
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I have been wanting to pick up a pair of omni's for some time now and they are now finally in sight!
Just can't decide which one is the right one. They will be used for PA recording, FOB. From my listening, the MK2S sounds great, but I have not heard the MK2H (or the MK2 for that matter). It seems that the 2S would be the best choice for my application, but all suggestions are welcome. Thank you, fellow 'field recording engineers" :)
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I, too, am considering omnis and Schoeps is definitely in the running. For what I want to do: classical, possibly baroque chamber and chorales I am thinking that the 2h suits me best. For pop stuff in the crappy venues it is usually done it I am using the Mk4's and I like them. I tried them without the windscreens last night in a bright room and it was a mistake. No smoking, yes, but hard walls. ;o( The DPA 4006 and 4006TL are also quite nice and can be varied somewhat for sound specs. More expensive but you get three or four mics for the price of one with the different grates. Just a thought.
Cheers
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I have been thinking of some DPA's for my second string but I do need some more caps for my cmc6s. The omni and then mk41s should set me straight.
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Shameless plug for the 2S, ;D
http://www.archive.org/details/outformation2006-06-03.mk2S.flac16
I'll try and dig up some pics from the day. Solid!
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Here they are. ;D
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everyone i know who uses it for concert taping likes the mk21 subcard over the omni.
there was just a mint matched pair of omnis on ebay that went for 800
I have been wanting to pick up a pair of omni's for some time now and they are now finally in sight!
Just can't decide which one is the right one. They will be used for PA recording, FOB. From my listening, the MK2S sounds great, but I have not heard the MK2H (or the MK2 for that matter). It seems that the 2S would be the best choice for my application, but all suggestions are welcome. Thank you, fellow 'field recording engineers" :)
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Shameless plug for the 2S, ;D
http://www.archive.org/details/outformation2006-06-03.mk2S.flac16
I'll try and dig up some pics from the day. Solid!
streaming now - sounds great - gonna burn a copy for the big system :coolguy:
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everyone i know who uses it for concert taping likes the mk21 subcard over the omni.
there was just a mint matched pair of omnis on ebay that went for 800
I have been wanting to pick up a pair of omni's for some time now and they are now finally in sight!
Just can't decide which one is the right one. They will be used for PA recording, FOB. From my listening, the MK2S sounds great, but I have not heard the MK2H (or the MK2 for that matter). It seems that the 2S would be the best choice for my application, but all suggestions are welcome. Thank you, fellow 'field recording engineers" :)
mk21 capsules sound wonderful, and they are in serious consideration. I want them all, but the budget dictates only one pair right now. Can't believe I missed that ebay steal :doh:
Subcards might be a bit more 'universal' for my current apps... :hmmm:
Really love that mk2s - all those old GD FOBs have had me hooked for ages....
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Hoping not to offend, but this question can't possibly have a single "right answer" that's valid for everyone, or even for one person in all recording situations. That's why the different types of capsule exist: free-field, diffuse-field, in between, and "to infinity and beyond!" Schoeps offers four different single-pattern omni capsule types for some very good reasons:
- Room acoustics vary a lot (their reverberance and high-frequency absorption are especially relevant);
- Miking distances vary a lot (thus varying the mix of direct and reverberant sound energy that you pick up); and last but in no way least,
- Different people listen differently, hear differently and want different qualities from a recording.
If you want a bit of the technical background of what the four different single-pattern Schoeps omni capsules are about, with charts and graphs and everything, you could conceivably look on http://recforums.prosoundweb.com/index.php/m/6430/1450/#msg_4867 (http://recforums.prosoundweb.com/index.php/m/6430/1450/#msg_4867). That's a board where I no longer post, though back in the day, I put a lot of time and energy into it. (Oh, well.) Or, you know, you could look at Schoeps's Web site (www.schoeps.de (http://www.schoeps.de))--but I don't think they have a page that actually compares the capsules, unfortunately.
I have two different pairs of Schoeps omni capsules; they happen to be the MK 2 and MK 2S, but I record mostly classical music and my whole point here is that YM not only MV, but almost certainly W (=will) V. Anyway, I don't use the MK 2 very often at all. Each time I've used them, musicians have gone out of their way to tell me that they loved the recording; several have said it was the first time they'd ever heard a recording that "sounded like them."
So why don't I use them all the time? It's because if the hall is any "good" (if it has a pleasant reverberant quality that goes well with the type of music being performed) and if I can physically put my mikes up where I want to, I'd usually rather mike from farther away. That gives a mix of direct and reflected sound, and for reasons of physics--which I won't go into here, mainly because I still remember being beaten up in public school for knowing stuff like this--a free-field capsule such as the MK 2 would sound a little rolled-off on top. The MK 2H or MK 2S would be much more likely to "sound right" at such distances (or at an extreme distance, the MK 3--but I wouldn't normally want to record from that far away).
As a classical engineer I'm a bit of an outsider here--fortunately, I feel that I'm among people who treat outsiders well. Anyway, the music that "you people" mostly record is different from the music that I mostly record, but the physics is the same. Whenever you record indoors you get room reflections, with some degree of high-frequency energy absorption on every bounce. You rarely record where direct sound is the dominant element, and where the high frequencies in the sound haven't been subject to much room absorption.
On the other hand, the sound you do record is often miked and mixed and amplified. In the process, all kinds of EQ is applied both directly by the sound mixer on the board, and indirectly because the microphones and PA speakers are far from flat. Those are factors that I don't usually have to contend with, so I don't know exactly what advice to give--except to remember that, in this case even more than most others, not only will your mileage vary, but that logically it should vary for reasons of physics. If you're listening to anyone else's recordings made with omni mikes, please be aware that you (or they) would never get similar results with the same microphones, unless the room acoustics and miking distances were similar to begin with. You're not just hearing the sound of the mikes; you're hearing the whole goulash of performers, P.A. equipment, room, miking configuration AND microphones.
--best regards
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A tip of the hat to the learned DSatz. ;D
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A tip of the hat to the learned DSatz. ;D
what he said!!
Thanks +T
edit: There is never a right answer, but one can try to get pretty close :)
:coolguy:
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if you are taping inside, and PA, but not on stage I would think the subcard would be a much better choice or your recordings will probably be filled with crowd noise that the omni's would capture