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Post by indiehouse on Nov 14, 2015 13:34:17 GMT -6
Anyone have any thoughts as to how these compare to an AEA R84? I've got an 84 now, but would be open to changing it up a bit. The 84 has a somewhat boomy low end.
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Post by Johnkenn on Nov 14, 2015 14:26:45 GMT -6
It's has a LOT more top end compared to the R84.
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Post by Martin John Butler on Nov 14, 2015 20:58:42 GMT -6
If memory serves, the cable Mark recommends was no more expensive than Canare or Mogami, so why not go with the designer's suggestion. I'm sure he's gone through every possibility to get the most out of his microphones.
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Post by Johnkenn on Nov 14, 2015 21:26:30 GMT -6
Mogami Gold 25' - $70 Grimm TPR 30' - $110
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Post by henge on Nov 14, 2015 22:12:16 GMT -6
Maybe you should try and see if you like it without the extra dough. Yup that's what I'll do.
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Post by Ward on Nov 16, 2015 6:30:55 GMT -6
Mogami Gold 25' - $70 Grimm TPR 30' - $110 What about the snakes and what not the microphone signal goes through before it gets to the preamp? A lot of us use patch bays, patch panels and snakes from recording rooms to get to our preamps. Not everyone is doing a small-room home studio where the microphone cable is all that comes between the Samar and the preamp.
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Post by indiehouse on Nov 16, 2015 6:35:45 GMT -6
Mogami Gold 25' - $70 Grimm TPR 30' - $110 What about the snakes and what not the microphone signal goes through before it gets to the preamp? A lot of us use patch bays, patch panels and snakes from recording rooms to get to our preamps. Not everyone is doing a small-room home studio where the microphone cable is all that comes between the Samar and the preamp. Yeah, I never understood the point of expensive cables that get plugged into live room panels that are then run into a patchbay. Not that my studio is wired with junk or anything.
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Post by jcoutu1 on Nov 16, 2015 6:54:26 GMT -6
What about the snakes and what not the microphone signal goes through before it gets to the preamp? A lot of us use patch bays, patch panels and snakes from recording rooms to get to our preamps. Not everyone is doing a small-room home studio where the microphone cable is all that comes between the Samar and the preamp. Not that my studio is wired with junk or anything. Mine is. Haha.
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Deleted
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Post by Deleted on Nov 16, 2015 7:59:28 GMT -6
Well this is an interesting question. I would not run a ribbon thru a patchbay exactly because of the passive behavior. Seems to be one of the cases where you are supposed to get a preamp into the recording room and run the line signal thru the long runs and patchbays. An active kind of impedance converter, cloudlifter, something like this may be a problem solver, too, in this case.
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Post by Ward on Nov 16, 2015 10:29:34 GMT -6
Well this is an interesting question. I would not run a ribbon thru a patchbay exactly because of the passive behavior. Seems to be one of the cases where you are supposed to get a preamp into the recording room and run the line signal thru the long runs and patchbays. An active kind of impedance converter, cloudlifter, something like this may be a problem solver, too, in this case. Thanks... Ribbons have been used for a very long time in recording studios. Someone must be able to speak to cabling solutions and long cable run challenges also. I know Belden aluminum core (single conductor) was used for a long time back int he 1950s through 1970s.
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Post by Guitar on Nov 16, 2015 11:30:40 GMT -6
Just plug it in and use it... I wouldn't worry too much about it.
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Post by tonycamphd on Nov 16, 2015 12:54:59 GMT -6
I straight wire right into my converters from a mic panel, no patchbay with 48v in it for any of my mics, long runs is when cable starts to matter more, the low output characteristics of ribbon mics could very well be served by a lower impedance higher Q mic cable? If Mark says it does, i believe him, his mics are the best ribbons on the planet afaic.
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Post by jcoutu1 on Nov 16, 2015 13:24:39 GMT -6
I straight wire right into my converters from a mic panel, no patchbay with 48v in it for any of my mics, long runs is when cable starts to matter more, the low output characteristics of ribbon mics could very well be served by a lower impedance higher Q mic cable? If Mark says it does, i believe him, his mics are the best ribbons on the planet afaic. I think the point being made is that using this special mic cable for the Samar is all well and good, until you plug that into the mic panel snake that runs to your preamps. At that point, you're losing the benefit of the special cable.
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Post by henge on Nov 20, 2015 10:51:07 GMT -6
This will be interesting. I'm going to recut a vocal when my VL37 gets here. I used an SM7b for the original takes. Also I'm getting new conversion ( Lynx E44 ) so the new vocal will have a mic way more suited to my voice and better conversion. I'll post when it's all done...
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Post by Ward on Nov 20, 2015 14:36:08 GMT -6
This will be interesting. I'm going to recut a vocal when my VL37 gets here. I used an SM7b for the original takes. Also I'm getting new conversion ( Lynx E44 ) so the new vocal will have a mic way more suited to my voice and better conversion. I'll post when it's all done... I hope Mark send me that one also!!
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Deleted
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Post by Deleted on Dec 3, 2015 17:49:26 GMT -6
I know this thread's died back a bit, but I had a tremendously fun experience last evening. A longtime friend is in town recording the Utah Symphony as part of a multi-year project. I'll usually pop over to the hall to look at his setups and listen to music from back in the control room. My friend (John Newton of Soundmirror) has a mic locker to die for, including stacks of Schoeps, DPA, Sennheiser, Neumann, etc. And he hangs a lot of mics for a symphony gig (52 of them for this). I was there for a rehearsal of the choral movement of the Beethoven 9, so there were a LOT a people on stage. Mark had kindly loaned a pair of Samars to John, and he hung them a few feet behind the conductor, perhaps 12-14 feet up. Blumlein. Recording is all DSD with Merging preamps.
As the rehearsal went on, we had a great time soloing different combinations of mics--a spot here and there, room mics, a wide pair of 4006, pairs of MK22s, etc. So I got to hear the Samars in the company of some of the world's finest microphones, all with a very good orchestra. I've got to tell you that they really hold their own. The first thing I might have expected would be a little bit (or a lot) of HF loss--the typical ribbon thing. No such loss with the Samars. The phantom center image was rock solid and the reach of the mics was impressive. The vocal soloists were about 30 feet away from the mics and they were crisp and clear. There was no part of the orchestra that sounded less than excellent, and the low instruments (basses, celli, contrabassoon) were absolutely glorious. I'm not sure I've ever heard those sections sound better.
I know this is a little different focus than most of the folks on this forum, but all of you can translate as needed. These are without doubt very fine microphones and it's nice to know the company is just across the valley from me. Hope I can get a couple into my kit one of these days.
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Post by Johnkenn on Dec 3, 2015 22:06:47 GMT -6
Wow! That's awesome! Thanks, Michael.
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Post by svart on Dec 3, 2015 23:02:16 GMT -6
I need to email Mark and see where I'm at in the queue of the demos. I haven't heard from him for a while.
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Post by tonycamphd on Dec 3, 2015 23:25:29 GMT -6
I need to email Mark and see where I'm at in the queue of the demos. I haven't heard from him for a while. just buy the mic, you'll end up selling your 121 to buy a second VL37.... seriously, you will 8)
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Post by svart on Dec 3, 2015 23:28:49 GMT -6
I need to email Mark and see where I'm at in the queue of the demos. I haven't heard from him for a while. just buy the mic, you'll end up selling your 121 to buy a second VL37.... seriously, you will 8) If the VL37 is that good compared to the R121, I'll order it immediately.. And sell something else, but that Royer isn't going anywhere!
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Post by henge on Dec 4, 2015 7:59:03 GMT -6
I know this thread's died back a bit, but I had a tremendously fun experience last evening. A longtime friend is in town recording the Utah Symphony as part of a multi-year project. I'll usually pop over to the hall to look at his setups and listen to music from back in the control room. My friend (John Newton of Soundmirror) has a mic locker to die for, including stacks of Schoeps, DPA, Sennheiser, Neumann, etc. And he hangs a lot of mics for a symphony gig (52 of them for this). I was there for a rehearsal of the choral movement of the Beethoven 9, so there were a LOT a people on stage. Mark had kindly loaned a pair of Samars to John, and he hung them a few feet behind the conductor, perhaps 12-14 feet up. Blumlein. Recording is all DSD with Merging preamps. As the rehearsal went on, we had a great time soloing different combinations of mics--a spot here and there, room mics, a wide pair of 4006, pairs of MK22s, etc. So I got to hear the Samars in the company of some of the world's finest microphones, all with a very good orchestra. I've got to tell you that they really hold their own. The first thing I might have expected would be a little bit (or a lot) of HF loss--the typical ribbon thing. No such loss with the Samars. The phantom center image was rock solid and the reach of the mics was impressive. The vocal soloists were about 30 feet away from the mics and they were crisp and clear. There was no part of the orchestra that sounded less than excellent, and the low instruments (basses, celli, contrabassoon) were absolutely glorious. I'm not sure I've ever heard those sections sound better. I know this is a little different focus than most of the folks on this forum, but all of you can translate as needed. These are without doubt very fine microphones and it's nice to know the company is just across the valley from me. Hope I can get a couple into my kit one of these days. 52 mics!!! lol Great story! Still waiting for mine....
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ericn
Temp
Balance Engineer
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Post by ericn on Dec 5, 2015 14:49:34 GMT -6
Damn got get a chance to hear one of these!
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Post by warrenfirehouse on Dec 6, 2015 2:09:43 GMT -6
Anyone putting these on guitar cabs or drums? I was planning on getting either a 121 or a 101 in the near future, but if these are superior in those applications maybe I'll grab one.
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Post by EmRR on Dec 6, 2015 8:30:06 GMT -6
Works well in both applications.
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Post by tonycamphd on Dec 6, 2015 9:17:24 GMT -6
Works well in both applications. I scored a super cheap pair of used stellar rm3 royer 121 knock offs with the offset, I'm sending them to mark, is there anything I should ask for specifically on the mods D? If I remember correctly u have them also..?..
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