« Reply #10 on: August 15, 2006, 11:51:20 PM »
Split was about 4 feet (placed on either side of the center floor wedge)
The drums were a lot closer than the B3. The guitar players (Gary Nicholson and Kenny Greenberg) are just louder than hell at all times. You don't want to sit in the front row for these guys. Plus the way the mics were positioned they were pointing directly at the guitar amps.
There was no processing done to the file, other than rendering to mp3.
For whatever reason, the mics do not seem able to handle the low end without some audible distortion. This is also evident in last week's sample, although to a much lesser degree. It's very noticeable in the Jack Pearson set (which was significantly louder than Oteil's set and was pretty close to the volume of the Fortunate Sons).
That being said, I still think they are an exceptional value for $50. I would use caution on loud rock shows though, as you may experience some overloading. These mics would certainly sound amazing on acoustic music though.
Dirk
I think these need three-wire powering. It would be pretty simple to modify the existing design to do this. Just cut the FET source-ground connection on the capsules (carefully!) and insert a 4.7k resistor. The rest of the circuit could stay the same.
Richard
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Mics: Sennheiser MKE2002 (dummy head), Studio Projects C4, AT825 (unmodded), AT822 franken mic (x2), AT853(hc,c,sc,o), Senn. MKE2, Senn MKE40, Shure MX183/5, CA Cards, homebrew Panasonic and Transsound capsules.
Pre/ADC: Presonus Firepod & Firebox, DMIC20(x2), UA5(poorly-modded, AD8620+AD8512opamps), VX440
Recorders: Edirol R4, R09, IBM X24 laptop, NJB3(x2), HiMD(x2), MD(1).
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