Well, those are diffuse-field equalized pressure transducers. For natural-sounding frequency balance, they require placement beyond the "critical distance" in a room--far enough away that the majority of the sound energy that reaches them is reflected rather than direct sound. And placement at distances like that makes the pickup quality depend quite drastically on the acoustics of the recording venue.
Usually people choose that kind of microphone only when they know for certain that they'll have both an inherently well-balanced acoustic to use them in (which isn't a very common circumstance in most "taper"-type situations) plus the freedom to place the mikes where they will sound best (which isn't very common, either).
On the other hand if you were to use EQ to trim the high-frequency range of the recording down a few dB, you could place the mikes closer to the sound sources and be that much less at the mercy of random room acoustics. If you go that route, don't cut so much that the on-axis response becomes flat, unless you are placing the mikes so close to the direct sound sources that they aren't picking up any significant amounts of reflected sound; it's better to split the difference if you can.
I haven't used this exact model of microphone but I have recorded classical music (string quartets) with a pair of the original Neumann M 50 microphones in a very large studio (the late, lamented RCA Studio "A" in New York). Those mikes were remarkable for how far away you could place them without losing the focus of the sound. On the other hand if they had been placed at a more conventional distance from the players, they would have sounded quite unnatural.
--best regards
Topic: M150s set up (Read 2646 times)