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Post by mdmitch2 on Dec 20, 2016 21:47:29 GMT -6
This was pretty thrown together, and was really just intended for my own reference, but I figured I'd share because the results were pretty revealing IMO. I did this shootout to try to find my favorite acoustic guitar mic that's readily available (sorry, no KM84).... Soundpure was kind enough to bring most of the mics. I also included my Oktava mk012's, one of which has the Bill Sitler 'premium' mod. I also had a U87 for an LDC reference, and a cheapo Samson sdc for ultra low end reference. All the mics are cardioid unless otherwise stated (3 omni's). Guitar was a 2013 Martin D-18 with John Pearse 80/20 strings that were put on the night before. Mics were placed 12 inches from where the neck meets the body, and were recorded one at a time. Preamp was a CAPI vp26, running through a Neotek Elite with no EQ/Compression. Room is 13' x 24', well treated, but not overly so. There are three ways you could listen.... Soundcloud below (low quality mp3s). Or you can use the drop box links for the wav files. I made two folders, one with the mics identified by name... or if you'd rather hear them blindly, there's another folder without names and a text file with the key. I eyeballed the gain and very roughly matched them, but you'll be best off dropping everything into your DAW so you can adjust the levels as needed. Each clip has three sections, always in the same order.... strummed chords, finger picking, hard strummed chords. I'm more of an electric/lead player, and way out of practice, so don't judge too harshly!  Dropbox - Mics IdentifiedDropbox - Mics Unidentifiedhttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-dpa-4006-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-schoeps-cmc6-mk2-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-josephson-c617-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-dpa4011%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-schoeps-cmc6-mk4%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-neumann-km184%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-soyuz-011%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-tfunk-m60%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-octava-012-stock%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-octava-012-mod%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-peluso-p-84%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-josephson-e22s%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-samson-co2%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-u87%3Fin%3Dshadowtreestudios/sets/sdc-shootout |
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Post by bowie on Dec 20, 2016 23:45:09 GMT -6
I love SDC shootouts on acoustic. Must have listened to every one I could find before finally deciding to sell off a bunch of mics and get the Schoeps CMC6 platform this year. Absolutely no regrets. Being a tone freak, I used to fuss so much with positioning that the time spent would sometimes affect the take, especially when self-recording. With the Schoeps, the sound is just "there". Glad I finally gave up on fighting with the 184s. Good mics but the freq response was all wrong for the way I mix acoustics.
I still like certain LDCs on acoustic, including 414s. Would love to try the DPA 4011s. It was between them and the Schoeps but the modularity (is that a word?) won out. SE made a modular SDC, the 'SE4', which I still have and like. They sometimes go ridiculously cheap on the used market these days. Crazy air on that one so it's a nice contrast to the Schoeps, though it's not on "that" level.
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Post by ragan on Dec 20, 2016 23:53:48 GMT -6
Thanks for sharing. Interesting and informative for sure.
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Post by gouge on Dec 21, 2016 2:40:29 GMT -6
thanks for doing this. i'll have to listen in the studio as i'm at home on pc speakers and usually everything i think i hear here i disagree with in the studio.
that said.
schoeps and the u87 for me. especially in the finger picking sections. i like the Josephson a lot during the strumming sections.
the modified mk012 works for me too but doesn't have the depth of the schoeps.
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Post by thehightenor on Dec 21, 2016 4:11:21 GMT -6
I find these type of shoot outs a bit tough, because I'm always thinking how will I be using this track?
If it's a solo acoustic, I often reach for a U87/U47/251 LDC type of mic.
If it's in stereo then SDC's are great, if it's a rock setting heck I'll even use an AKG451E which can sound way too bright in isolation.
So I like nearly all the mics in this shoot out for different reasons, and could imagine calling on them for different settings.
Thus my conclusion, as the same way my wife can never have enough shoes, I will never be able to have enough mics :-)
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Post by cowboycoalminer on Dec 21, 2016 6:29:01 GMT -6
On this instrument I like the Schoeps MK4. Sounds like I'm in the room with it.
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Post by mdmitch2 on Dec 21, 2016 12:36:17 GMT -6
So I like nearly all the mics in this shoot out for different reasons, and could imagine calling on them for different settings. Thus my conclusion, as the same way my wife can never have enough shoes, I will never be able to have enough mics :-) I agree.... I think they're mostly all usable depending on the context. I'm getting ready to do a folk-ish EP that'll be very sparse on the instrumentation, so in that context, I'm trying to find the mic that will make the guitar sound natural, textured, and big.... and that eliminates most of the contenders in this case. |
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Post by thehightenor on Dec 21, 2016 12:51:01 GMT -6
That sounds like a job for a Wunder CM7 (or similiar)
My Wunder CM7 makes any acoustic guitar sound simply stunning .... warm, detailed, smooth, definately BIG and very real (you can almost smell the wood :-)
It's too much if you want the acoustic to sit back in a busy rock/pop mix but great for a sparse arrangment.
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Post by mdmitch2 on Dec 21, 2016 12:53:55 GMT -6
I love SDC shootouts on acoustic. Must have listened to every one I could find before finally deciding to sell off a bunch of mics and get the Schoeps CMC6 platform this year. Absolutely no regrets. Being a tone freak, I used to fuss so much with positioning that the time spent would sometimes affect the take, especially when self-recording. With the Schoeps, the sound is just "there". Glad I finally gave up on fighting with the 184s. Good mics but the freq response was all wrong for the way I mix acoustics. I really liked the Schoeps here.... they seemed to have a little more of a 'sound' compared to the DPA, but it's a nice sound for sure. A little more bottom, and a bit more upper mid forward. DPA's felt a bit more neutral apart form a slight lift up top. But then again, in some cases 'neutral' can equate to boring and lifeless... Cardioid mk4 seemed better for this guitar/room with a bit more focus and clarity. Agree on the KM184's too.... definitely emphasizing some odd/unpleasant frequencies. Even the inexpensive Oktava's easily beat them on frequency response, and pleasing tone. |
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Post by mdmitch2 on Dec 21, 2016 13:00:50 GMT -6
the modified mk012 works for me too but doesn't have the depth of the schoeps. I've always liked the mk012, but it still surprised me relative to the other mics. I thought it was voiced most closely to the schoeps, but sounds flat and 2D in comparison. But in a busy mix... it could easily fit the bill. I was also surprised that I liked the stock mk012 better on the strummed parts. It's warmer and has a bigger bottom than the modded version, which easily wins on the finger picked part for clarity and detail. I think I'll keep one of each, or maybe just buy another pair since they're so cheap. |
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Post by cowboycoalminer on Dec 21, 2016 13:35:54 GMT -6
I love SDC shootouts on acoustic. Must have listened to every one I could find before finally deciding to sell off a bunch of mics and get the Schoeps CMC6 platform this year. Absolutely no regrets. Being a tone freak, I used to fuss so much with positioning that the time spent would sometimes affect the take, especially when self-recording. With the Schoeps, the sound is just "there". Glad I finally gave up on fighting with the 184s. Good mics but the freq response was all wrong for the way I mix acoustics. I really liked the Schoeps here.... they seemed to have a little more of a 'sound' compared to the DPA, but it's a nice sound for sure. A little more bottom, and a bit more upper mid forward. DPA's felt a bit more neutral apart form a slight lift up top. But then again, in some cases 'neutral' can equate to boring and lifeless... Cardioid mk4 seemed better for this guitar/room with a bit more focus and clarity. Agree on the KM184's too.... definitely emphasizing some odd/unpleasant frequencies. Even the inexpensive Oktava's easily beat them on frequency response, and pleasing tone. Yeah both the Shoeps sound "right" to me. Not much need for anything else. On second and third listen, I almost prefer the mk2 because it really is the most natural. Depends on the kind of mix this guitar would be used in. The mk2 for a sparse mix, the mk4 for dense (maybe even needing some hpf). But the Shoepes are the clear winner here for me. |
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Post by bowie on Dec 21, 2016 14:30:09 GMT -6
the modified mk012 works for me too but doesn't have the depth of the schoeps. I've always liked the mk012, but it still surprised me relative to the other mics. I thought it was voiced most closely to the schoeps, but sounds flat and 2D in comparison. But in a busy mix... it could easily fit the bill. I was also surprised that I liked the stock mk012 better on the strummed parts. It's warmer and has a bigger bottom than the modded version, which easily wins on the finger picked part for clarity and detail. I think I'll keep one of each, or maybe just buy another pair since they're so cheap. I really liked the Schoeps here.... they seemed to have a little more of a 'sound' compared to the DPA, but it's a nice sound for sure. A little more bottom, and a bit more upper mid forward. DPA's felt a bit more neutral apart form a slight lift up top. But then again, in some cases 'neutral' can equate to boring and lifeless... Cardioid mk4 seemed better for this guitar/room with a bit more focus and clarity. Agree on the KM184's too.... definitely emphasizing some odd/unpleasant frequencies. Even the inexpensive Oktava's easily beat them on frequency response, and pleasing tone. Yeah both the Shoeps sound "right" to me. Not much need for anything else. On second and third listen, I almost prefer the mk2 because it really is the most natural. Depends on the kind of mix this guitar would be used in. The mk2 for a sparse mix, the mk4 for dense (maybe even needing some hpf). But the Shoepes are the clear winner here for me. The thing I discovered in using the Schoeps is that, in clips you hear online, they can sound a bit like the Oktava 012, or any number of SDCs, but using them in person it's another experience entirely. The behavior is different and the ability to communicate what you're hearing in the room (a sense of depth and intimacy at the same time) is something I've only found in a few high-end SDCs. For me, it's a fairly natural and highly textured sound, but seems to flatter everything in a "musical" (pardon the crass, meaningless audiophone terminology) way. The various capsules are interesting because it's not like flipping through patterns on a mic where the freq response shifts drastically. This is more like adjusting how much of the room you want in the track, without changing the fundamental tonal balance of the instrument all that much. For me, there are few "bad" mics. Everything has an application. But, once in a great while I find gear that just clicks with me and I think, "Where have you been all my life??" These are very much a joy to work with. |
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Post by swurveman on Dec 21, 2016 14:57:05 GMT -6
I love SDC shootouts on acoustic. Must have listened to every one I could find before finally deciding to sell off a bunch of mics and get the Schoeps CMC6 platform this year. Absolutely no regrets. Being a tone freak, I used to fuss so much with positioning that the time spent would sometimes affect the take, especially when self-recording. With the Schoeps, the sound is just "there". Glad I finally gave up on fighting with the 184s. Good mics but the freq response was all wrong for the way I mix acoustics. I have a pair of Schoeps CMC's with MK4 capsules. Which capsule do you use on acoustic guitar and what is your placement? I have found that the standard 12th fret placement always is too bright when I use my Schoeps about a foot away, even worse when closer. So, am not completely directional with the mic. I like it better off axis. Also, if I get anywhere past two feet I have trouble with getting enough gain out of my Schoeps for my preamps. I like them best as overheads. They really are great for capturing the kit and particularly the cymbals. |
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Post by bowie on Dec 21, 2016 16:19:29 GMT -6
I love SDC shootouts on acoustic. Must have listened to every one I could find before finally deciding to sell off a bunch of mics and get the Schoeps CMC6 platform this year. Absolutely no regrets. Being a tone freak, I used to fuss so much with positioning that the time spent would sometimes affect the take, especially when self-recording. With the Schoeps, the sound is just "there". Glad I finally gave up on fighting with the 184s. Good mics but the freq response was all wrong for the way I mix acoustics. I have a pair of Schoeps CMC's with MK4 capsules. Which capsule do you use on acoustic guitar and what is your placement? I have found that the standard 12th fret placement always is too bright when I use my Schoeps about a foot away, even worse when closer. So, am not completely directional with the mic. I like it better off axis. Also, if I get anywhere past two feet I have trouble with getting enough gain out of my Schoeps for my preamps. I like them best as overheads. They really are great for capturing the kit and particularly the cymbals. My experience is a bit different. I've got the 41 (supercard) and 5 (switchable omni and card, but slightly brighter than the #2 and 4). The 41s sound very natural to me, not bright at all, and I even add a little top sometimes. The omni and card in the #5 have the slight boost that I would normally add in a mix. I personally like the Schoeps at about 2' away and I'm usually between 1.5' and 3' on acoustic with these mics, either in X/Y or spaced at the hole and 12th. I will often do 1' away with other mics but it sort of kills the vibe in the Schoeps for me. It really comes alive, both in tone and dynamics. Gain hasn't been an issue at all, even with my somewhat noisy Millennias. With all that said, I've only had them for a short while and have only been using them on my 12-fret dreads, which are big, loud, and fat sounding. I could see the Schoeps maybe sounding sharp on something like a Taylor, or smaller guitars, or anything naturally bright. FOr me, the Schoeps don't do the same off-axis smoothing that you get from other mics because the Schoeps seem to retain a lot of the tone when off-axis. They don't roll off quite as much, in my experience. That can be good or bad. I like it because I want my instruments to sound exactly how they do in my room. I could see it being frustrating if you're trying to soften up the top end though. |
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Post by swurveman on Dec 21, 2016 17:11:18 GMT -6
I have a pair of Schoeps CMC's with MK4 capsules. Which capsule do you use on acoustic guitar and what is your placement? I have found that the standard 12th fret placement always is too bright when I use my Schoeps about a foot away, even worse when closer. So, am not completely directional with the mic. I like it better off axis. Also, if I get anywhere past two feet I have trouble with getting enough gain out of my Schoeps for my preamps. I like them best as overheads. They really are great for capturing the kit and particularly the cymbals. My experience is a bit different. I've got the 41 (supercard) and 5 (switchable omni and card, but slightly brighter than the #2 and 4). The 41s sound very natural to me, not bright at all, and I even add a little top sometimes. The omni and card in the #5 have the slight boost that I would normally add in a mix. I personally like the Schoeps at about 2' away and I'm usually between 1.5' and 3' on acoustic with these mics, either in X/Y or spaced at the hole and 12th. I will often do 1' away with other mics but it sort of kills the vibe in the Schoeps for me. It really comes alive, both in tone and dynamics. Gain hasn't been an issue at all, even with my somewhat noisy Millennias. With all that said, I've only had them for a short while and have only been using them on my 12-fret dreads, which are big, loud, and fat sounding. I could see the Schoeps maybe sounding sharp on something like a Taylor, or smaller guitars, or anything naturally bright. FOr me, the Schoeps don't do the same off-axis smoothing that you get from other mics because the Schoeps seem to retain a lot of the tone when off-axis. They don't roll off quite as much, in my experience. That can be good or bad. I like it because I want my instruments to sound exactly how they do in my room. I could see it being frustrating if you're trying to soften up the top end though. Thanks for your response. Often I have people with small acoustics who play softly. So, trying to mic that from 2-3 feet away is tough for both my Vintech's and API preamps. I have been thinking about getting a clean preamp like the Millenia. Perhaps that will help. Also, it seems to be a general consensus that people prefer the Schoeps supercard for acoustic guitar. The thing I think about is, and perhaps this is a misperception, but it doesn't seem like people who have KM 84's are ever unhappy with how they works with acoustic guitars. |
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Post by Guitar on Dec 21, 2016 17:17:25 GMT -6
For some reason the KM184 hears a guitar how I want to hear. I am sad that I sold mine. I'll probably get another one.
The Oktava is good to me, but not great. Happy to have sold those.
The Schoeps is the one I dream of but have never been able to try. Sounds really good here.
Also in a sparse arrangement I would definitely be looking at LDC mics over the SDC for that type of song.
The Soyuz and Peluso sound quite good. Tough choice you have with all these fine mics.
Also, the Omni options all sound really good to me here. Maybe something to consider.
For some reason, both acoustic guitar, and small diaphragm condenser mics, strike me as highly personal choices in audio. Especially the combination of the two. Almost like a singer and her voice.
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Post by rob61 on Dec 21, 2016 17:42:59 GMT -6
This was pretty thrown together, and was really just intended for my own reference, but I figured I'd share because the results were pretty revealing IMO. I did this shootout to try to find my favorite acoustic guitar mic that's readily available (sorry, no KM84).... Soundpure was kind enough to bring most of the mics. I also included my Oktava mk012's, one of which has the Bill Sitler 'premium' mod. I also had a U87 for an LDC reference, and a cheapo Samson sdc for ultra low end reference. All the mics are cardioid unless otherwise stated (3 omni's). Guitar was a 2013 Martin D-18 with John Pearse 80/20 strings that were put on the night before. Mics were placed 12 inches from where the neck meets the body, and were recorded one at a time. Preamp was a CAPI vp26, running through a Neotek Elite with no EQ/Compression. Room is 13' x 24', well treated, but not overly so. There are three ways you could listen.... Soundcloud below (low quality mp3s). Or you can use the drop box links for the wav files. I made two folders, one with the mics identified by name... or if you'd rather hear them blindly, there's another folder without names and a text file with the key. I eyeballed the gain and very roughly matched them, but you'll be best off dropping everything into your DAW so you can adjust the levels as needed. Each clip has three sections, always in the same order.... strummed chords, finger picking, hard strummed chords. I'm more of an electric/lead player, and way out of practice, so don't judge too harshly! Dropbox - Mics IdentifiedDropbox - Mics Unidentifiedhttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-dpa-4006-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-schoeps-cmc6-mk2-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-josephson-c617-omni%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-dpa4011%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-schoeps-cmc6-mk4%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-neumann-km184%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-soyuz-011%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-tfunk-m60%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-octava-012-stock%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-octava-012-mod%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-peluso-p-84%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-josephson-e22s%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-samson-co2%3Fin%3Dshadowtreestudios/sets/sdc-shootouthttps%3A//soundcloud.com/shadowtreestudios/sdc-shootout-u87%3Fin%3Dshadowtreestudios/sets/sdc-shootout |
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Post by EmRR on Dec 21, 2016 17:52:11 GMT -6
the modified mk012 works for me too but doesn't have the depth of the schoeps. I've always liked the mk012, but it still surprised me relative to the other mics. I thought it was voiced most closely to the schoeps, but sounds flat and 2D in comparison. I was also surprised that I liked the stock mk012 better on the strummed parts. It's warmer and has a bigger bottom than the modded version, which easily wins on the finger picked part for clarity and detail. I have the same response experience with my Oktava, having both stock and modified versions. My KM140's cover both ends of that see-saw more successfully, if you are making comparisons. Agreeing again, they also seem less dimensional than the KM140 by a small bit, and greatly less compared to a Sennheiser MKH. Picked a DPA 4060 over an Oktava/omni on fingerpicked guitar recently for clarity, and it was a modified Oktava with clearer top. |
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Post by EmRR on Dec 21, 2016 19:04:39 GMT -6
Went through quickly twice. Probably vote for the Schoeps CMC6 Mk2 Omni on this guitar as a solo instrument as presented. The U87 does absolutely nothing I like, big wooly mess. The 184 does that metallic rasp that sounds like a de-esser is needed, or someone set compression just slightly too slow and it's accentuating the metallic percussives. Easily a nightmare in some mixes. (I feel another nudge towards selling my KM140's) The DPA's sound like a 'safe LA rock production', sanitized, well balanced, hard to fault, and not what I'm probably looking for on this acoustic, of the two I'd go for the 4006 first. Most, to me, sound like I want to pull the mic back further to take some proximity effect out, or grab a HPF and see if there's a sweet spot, easily varies for each.
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Post by gouge on Dec 21, 2016 19:36:34 GMT -6
I've always liked the mk012, but it still surprised me relative to the other mics. I thought it was voiced most closely to the schoeps, but sounds flat and 2D in comparison. I was also surprised that I liked the stock mk012 better on the strummed parts. It's warmer and has a bigger bottom than the modded version, which easily wins on the finger picked part for clarity and detail. I have the same response experience with my Oktava, having both stock and modified versions. My KM140's cover both ends of that see-saw more successfully, if you are making comparisons. Agreeing again, they also seem less dimensional than the KM140 by a small bit, and greatly less compared to a Sennheiser MKH. Picked a DPA 4060 over an Oktava/omni on fingerpicked guitar recently for clarity, and it was a modified Oktava with clearer top. which mkh are you using. every now and then I see the older ones come up for a good price but always stop short of buying. like the 406. I got the ksm137 because it was schoeps inspired and like it but I know it's not in the same league. every shootout I hear with the schoeps in it I like the schoeps. |
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Post by EmRR on Dec 21, 2016 19:46:55 GMT -6
405's and 406's are both cool. You generally have to also get a T-power supply and Klein-Tuchel/XLR adapters to use them though.
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Post by mdmitch2 on Dec 22, 2016 12:02:37 GMT -6
The DPA's sound like a 'safe LA rock production', sanitized, well balanced, hard to fault, and not what I'm probably looking for on this acoustic, of the two I'd go for the 4006 first. Most, to me, sound like I want to pull the mic back further to take some proximity effect out, or grab a HPF and see if there's a sweet spot, easily varies for each. My initial reaction was that the DPA was the best of the bunch, but when I listened later, I realized how 'sanitized' it was on this source, as you say. Also, as for placement, I wanted to be consistent (and was short on time), but I'm sure many of these mics would have benefited from different positioning. Hopefully this shootout shows the general character of the mics, and people can use that information to narrow down which ones they want to audition for themselves. |
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Post by Vincent R. on Dec 22, 2016 14:14:55 GMT -6
Thanks for this. I enjoyed it. Really liked the Schoeps MK4. I've also been looking st the tfunk m60. It was nice to hear it next to this group. I also enjoyed the sound of the Soyuz.
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Post by mdmitch2 on Dec 22, 2016 14:44:22 GMT -6
Thanks for this. I enjoyed it. Really liked the Schoeps MK4. I've also been looking st the tfunk m60. It was nice to hear it next to this group. I also enjoyed the sound of the Soyuz. I thought the Tfunk and Soyuz were pretty similar sounding. Both really nice, though not as much much low end/warmth as the Schoeps/DPA/Josephson. But probably more 'mix ready' on a dense mix. Almost all of these mics would be useful for me except probably the Samson (harsh/metallic), Peluso (too bright/thin), and I didn't care for the u87 at all. And the KM184 could be made to work, but would need a lot of EQ on this guitar. |
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Post by Martin John Butler on Oct 3, 2020 11:17:55 GMT -6
Josephson C617 has the magic for me, Schoeps were next.
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