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Post by aamicrophones on Apr 18, 2017 12:33:19 GMT -6
WOW!!!! Amazing vocal performance and microphone technique. That's why I build microphones...to be able to capture performances like that. You made my day Vincent!!!
Cheers, Dave
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Post by Deleted on Apr 18, 2017 13:47:19 GMT -6
WOW!!!! Amazing vocal performance and microphone technique. That's why I build microphones...to be able to capture performances like that. You made my day Vincent!!! Cheers, Dave Exquisite! You gotta be proud of that Vincent!
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Post by Vincent R. on Apr 18, 2017 18:18:41 GMT -6
Thanks guys. I'm really happy with how it turned out. I'm very glad that Dave enjoyed it so much too.
I have never had a microphone that I used so little EQ on my vocal. I put a low end roll off at 60 hz and a high end roll off of 2db at 16 kHz to emulate the M7 version of the microphone, a tip given to me by Dave himself when he and I discussed the differences between the different versions of the M49 and their slightly different frequency responses. I did some very minor EQing to the whole track when I mastered it, but it was pretty minor.
I've been playing with the CM49 vs MK U67 and Dave's CM67le. The 67s are pretty darn close to each other. The debate between the 49 and 67 is tricky. The sound I get with the 67 is pretty awesome and reminiscent of the Sergio Franchi recordings I love so much, but does take a bit of EQ to get what I want from it. The 49 requires much less, but each sound is very unique. Planning a big shoot out and will be featuring a number of these mics and different styles. Gonna be working on that in May. I look forward to hearing what everyone says.
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Post by ChaseUTB on Apr 19, 2017 0:30:32 GMT -6
Amazing range and singing as always Bravo Vincent Brvao! 😎
Would love to hear you in a properly designed live room...
Not sure what type of treatment is in that room you recorded in ( maybe that room is a prop for the vid, even if it is please read on ) however I would love to hear the room treated with absorption and diffusion from GIK or even self built rockwool Gobo in a \_/ behind you would tighten up the room sound in the vocal takes and kill off some unwanted reflections... Especially with the amazing dynamic range you can display with those loud triumphant phrases, you can really excite the room and cause unwanted room reflections captured in your audio.
By doing this, less " Reverb " will be needed / added to The ld Vox because the recording space is more balanced and you will begin to appreciate the natural room sound/ ambience that the room can bring/ add.... that's also what helps a vocal maintain a " 3D image "...
As always, your singing is phenomenal, whether AA mic or Max Mod 😎💯
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Post by aamicrophones on Apr 20, 2017 16:28:28 GMT -6
Hi Guys, finally with lots of help for a RGO member I was able to get my analogue brain to figure out how to attach links to our dropbox. Here are some files of Advanced Audio Microphones. So, here we have:- DM20 dynamic microphone inside the kick. CM47fet outside the kick CM414 L/OH CM414 R/OH The snare was an SM57 so I didn't copy it and there were 421 Sennheisers on the toms. The preamps were WSW Siemens DECCA 811351 Tube Valve Microphone Preamps 70db Mic Pre Module that had been fully re-furbished and now live at Rimshot Studios in the UK where these files were recorded with no EQ or compression. www.dropbox.com/s/2csmemeb9r60o6q/01%20KICK%20IN%20DM20.wav?dl=0www.dropbox.com/s/fu13bu8z5co0jxa/02%20KICK%20OUT%20CM47FET.wav?dl=0www.dropbox.com/s/142x282f60o8nki/07%20OHL%20CM414.wav?dl=0www.dropbox.com/s/r7544bwage4cap1/08%20OHR%20CM414.wav?dl=0Now, that I know how to link DropBox files. Here is a rough mix of a live Jazz recording I did a few a few months ago. This was recorded with our:- 2-CM251 tube microphones on OH's which have the same capsules as our CM414. 2-CM414 microphones in the 7' grand piano 1-CM48T tube microphone on upright bass 1-CM47fet on the saxophone I ended up not using the CM47fet in front of the kick as there was enough of it in the leakage. There is no artificial reverb this is just the sound of the theatre (leakage) in all the microphones. There is no EQ on any of these microphones except I used an LP filter on the upright bass to reduce the cymbal leakage. The preamplifiers where my Behringer UFX 1604 coming direct out the inserts into my RADAR STUDIO IZ Technologies converters. My sense is even though the single knob compressor in the Behringer is all the way off it still compressing a wee bit. www.dropbox.com/s/o59cmuih934a6sn/ZOOM0012_Tr12.WAV?dl=0Enjoy, Dave
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Post by donr on Apr 20, 2017 21:28:12 GMT -6
The recordings and mics sound great. I also appreciate your participation here Dave. Great posts.
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Post by Vincent R. on Apr 21, 2017 6:11:28 GMT -6
Amazing range and singing as always Bravo Vincent Brvao! 😎 Would love to hear you in a properly designed live room... Not sure what type of treatment is in that room you recorded in ( maybe that room is a prop for the vid, even if it is please read on ) however I would love to hear the room treated with absorption and diffusion from GIK or even self built rockwool Gobo in a \_/ behind you would tighten up the room sound in the vocal takes and kill off some unwanted reflections... Especially with the amazing dynamic range you can display with those loud triumphant phrases, you can really excite the room and cause unwanted room reflections captured in your audio. By doing this, less " Reverb " will be needed / added to The ld Vox because the recording space is more balanced and you will begin to appreciate the natural room sound/ ambience that the room can bring/ add.... that's also what helps a vocal maintain a " 3D image "... As always, your singing is phenomenal, whether AA mic or Max Mod 😎💯 ChaseUTB, I wish the panels were for show. No, that's a live performance in my basement studio. It's not the most ideal space for my voice, but I make it work. It's a 21' x 19' x 7.5' room that doubles as a studio/office and playroom for my son. The panel configuration in the room is loosely based on an auralex plan that was written up for me. The biggest difference between the work up and what I actually did is the ceiling. They had advised numerous absorption and reflection panels on the ceiling. Most of it way too big for my short ceiling. There are a few additional things I'd like to do down there, but I haven't really had the chance. In truth, I've spent most of my career recording in spaces like this. I do have access to a really nice space at my old University. I'm starting the beginnings of a Christmas album with my wife, and will probably record orchestral stuff and possibly vocals there. If that doesn't work out I work at a church that will do well. If you really want to hear me or treated room check out my website below and click on the press kit page and listen to Nessun Dorma on the music player. While the orchestra was a prerecorded track, my voice was recorded at the national opera center in NYC. Talk about a gorgeous sounding room. We used a U87ai blend with a Blue Woodpecker and a Royer SF12 in the room. Once my career takes off I'm building a place like that. In truth, these YouTube videos are really just to generate buzz and find new fans. My audience tends to be a little older, so I'm not sure if it will work, but I don't know any other classical crossover guys doing the YouTube thing. We shall see. If you know people who will like what I'm doing, please share the videos. If you like it, please subscribe. I've spent many years of my career getting to a point where I was "almost there." I just keep pushing. In the words of Steve Martin when asked how to make it in entertainment, "Be so good they can't ignore you."
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Post by Vincent R. on Apr 21, 2017 22:19:43 GMT -6
Hey aamicrophones, do you have any samples of your CM28? I'm really interested in them.
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Post by ChaseUTB on Apr 22, 2017 3:06:09 GMT -6
Amazing range and singing as always Bravo Vincent Brvao! 😎 Would love to hear you in a properly designed live room... Not sure what type of treatment is in that room you recorded in ( maybe that room is a prop for the vid, even if it is please read on ) however I would love to hear the room treated with absorption and diffusion from GIK or even self built rockwool Gobo in a \_/ behind you would tighten up the room sound in the vocal takes and kill off some unwanted reflections... Especially with the amazing dynamic range you can display with those loud triumphant phrases, you can really excite the room and cause unwanted room reflections captured in your audio. By doing this, less " Reverb " will be needed / added to The ld Vox because the recording space is more balanced and you will begin to appreciate the natural room sound/ ambience that the room can bring/ add.... that's also what helps a vocal maintain a " 3D image "... As always, your singing is phenomenal, whether AA mic or Max Mod 😎💯 ChaseUTB, I wish the panels were for show. No, that's a live performance in my basement studio. It's not the most ideal space for my voice, but I make it work. It's a 21' x 19' x 7.5' room that doubles as a studio/office and playroom for my son. The panel configuration in the room is loosely based on an auralex plan that was written up for me. The biggest difference between the work up and what I actually did is the ceiling. They had advised numerous absorption and reflection panels on the ceiling. Most of it way too big for my short ceiling. There are a few additional things I'd like to do down there, but I haven't really had the chance. In truth, I've spent most of my career recording in spaces like this. I do have access to a really nice space at my old University. I'm starting the beginnings of a Christmas album with my wife, and will probably record orchestral stuff and possibly vocals there. If that doesn't work out I work at a church that will do well. If you really want to hear me or treated room check out my website below and click on the press kit page and listen to Nessun Dorma on the music player. While the orchestra was a prerecorded track, my voice was recorded at the national opera center in NYC. Talk about a gorgeous sounding room. We used a U87ai blend with a Blue Woodpecker and a Royer SF12 in the room. Once my career takes off I'm building a place like that. In truth, these YouTube videos are really just to generate buzz and find new fans. My audience tends to be a little older, so I'm not sure if it will work, but I don't know any other classical crossover guys doing the YouTube thing. We shall see. If you know people who will like what I'm doing, please share the videos. If you like it, please subscribe. I've spent many years of my career getting to a point where I was "almost there." I just keep pushing. In the words of Steve Martin when asked how to make it in entertainment, "Be so good they can't ignore you." I know budgets can be tight... for $250 or $300 you can do wonders with 703 and or rockwool, some " breathable " "stretchy " fabric ", and some 2 x 4s, plus a couple picture hangers plus weight tested wire. This way you can hang and remove as needed 😎... I know we all deal with compromises, especially in home Studios, however thankfully today we don't have to have a million dollar room to be able to cut a great dry vocal 😀 Have a great day
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Post by aamicrophones on Apr 24, 2017 13:10:39 GMT -6
Hey aamicrophones , do you have any samples of your CM28? I'm really interested in them.
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Post by aamicrophones on Apr 24, 2017 13:26:53 GMT -6
Hi Vincent, I just got back from Vancouver. Took our MT8016 down to Joseph Magee who is recording all the vocals for the My Little Pony Movie at Brian Adam's Warehouse studios but Joseph brings his own AA microphones and the CM49 is one of his favourites. He really like the MT8016 and told me he likes it better than his V88 500 modules. You can't argue with a guy that has recorded Barbara Streisand and mixed the music for Dancing with Wolves, Sister Act one and two and all the Pitch Perfect movies. I have a file of the CM28 on woodwinds. I just need to see if I can find them they are from Angel Studios in London. They might be in Scotty's laptop. The CM28 is a interesting microphone. It's a hybrid circuit with a fet at the capsule which is coupled into a 6J1b tube. The fet basically works like a variable cathode resistor and produces a very smooth sound. Just cathing up after being down on the coast. Buttoning up a couple of Sony C-48 microphones one has a failed capsule. Interestly, it sounds better to me with our capsule. More low end and more level. They are basically a U87 but with less low end to my ears than a original U87. They have a K67/87 type capsule with a Neumann like de-emphasis circuit. I see these selling used for $1400? Again I am biased but I would choose my CM87 over one in any listening test. You actually have to pry the screening loose from the head to replace the capsule..WTF. Two screws and ours is off in 10 seconds. Now, I have to run out and get some Gel super glue to hold in place. I had to pry the grill away from the original glue job with a dental tool. Not what I would class as Grade "A" engineering. Cheers, Dave
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Post by aamicrophones on Apr 24, 2017 13:47:13 GMT -6
Hi Vincent, I just got back from Vancouver. Took our MT8016 down to Joseph Magee who is recording all the vocals for the My Little Pony Movie at Brian Adam's Warehouse studios but Joseph brings his own AA microphones and the CM49 is one of his favourites. He really like the MT8016 and told me he likes it better than his V88 500 modules. You can't argue with a guy that has recorded Barbara Streisand and mixed the music for Dancing with Wolves, Sister Act one and two and all the Pitch Perfect movies. I have a file of the CM28 on woodwinds. I just need to see if I can find them they are from Angel Studios in London. They might be in Scotty's laptop. The CM28 is a interesting microphone. It's a hybrid circuit with a fet at the capsule which is coupled into a 6J1b tube. The fet basically works like a variable cathode resistor and produces a very smooth sound. Just cathing up after being down on the coast. Buttoning up a couple of Sony C-48 microphones one has a failed capsule. Interestly, it sounds better to me with our capsule. More low end and more level. They are basically a U87 but with less low end to my ears than a original U87. They have a K67/87 type capsule with a Neumann like de-emphasis circuit. I see these selling used for $1400? Again I am biased but I would choose my CM87 over one in any listening test. You actually have to pry the screening loose from the head to replace the capsule..WTF. Two screws and ours is off in 10 seconds. Now, I have to run out and get some Gel super glue to hold in place. I had to pry the grill away from the original glue job with a dental tool. Not what I would class as Grade "A" engineering. Cheers, Dave Hi Vincent, here a shot of my studio acoustic panels. I have a total of 5 and the panel are 4' x 5' 4" deep filled with 703 and the material I had the Beatle/U47/Abbey Road pictured printed on is poplin. Poplin breath so when you blow on it air will go through and so with sound waves. I used old shutter on the ceiling a where the roof meets the wall fill with 703. The two rear corner behind the curtain have bass traps which are half columns with a depth of 18" at the deepest point. Those were taken when we first built the panels but the room has been treated a bit more since then but I am not quite finished yet. The studio room is 16' x 21' with 10' ceilings. The control room is 14' x 12'5' with 9' ceilings. Cheers, Dave Attachments:
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Post by johneppstein on Apr 24, 2017 15:52:24 GMT -6
Hey Vincent, would you be able to post some clips of the 49 when you get the time? I'm trying to understand what makes a mic more suitable for female vs male vox (also why I've got a bee in my bonnet about a 49). I've just been trying to remix an album I recorded last year. I'm no vocalist by any stretch, but my heart just sinks when I hear the sibilance I produced (albeit via a NT1A). Would a mic more suited to a female voice negate sibilance more so than one of the common male models? What are your thoughts on ribbon mics for vocals? I understand from other guys here that a decent mic pre can help a lot, so have recently bought one (Daking). Sorry for the amount of questions I have a sibilance problem that has been greatly exacerbated since getting full dentures (grrr...), despite my making some slight mods to the denture to slightly break up the laminar flow behind my front teeth. Things I've done to reduce it include > Never, ever using a pop filter/sibilance generator > Placing the mic above the plane of my mouth (around eye level), but angled down > Being aware of the sibilant spots in the song and working the mic, both moving back on sibilant spots (and louder passages, but that's a different thing) and turning my head briefly to the side on the really bad spots. I avoid brighter/more sibilant mics; my go-to for my vocal is currently a Pearlman TM-1 (black prototype, not the more common silver production model) rather than my (fairly early - pre-Sennheiser, I think) U87ai. Haven't really tried my C-12A much (which sees a lot of use on acouistic guitars), maybe I should. Before getting the Pearlman I was using a Shure 300 ribbon (same placement), which is definitely not a sibilant mic but lacks some of the dimensionality of the condenser - it sounds just a bit "flatter" (aspect, not pitch.) On one tune we just recut vocals on that was giving us no end of sibilance problems on one passage I decided to try a bit of an experiment and used the Beyer M-88TG dynamic that I usually use for live gigs - it didn't have quite the dimensionality of the condenser but it did a great job controlling the sibilance and the loss of dimensionality was not much of a problem - I seriously doubt an end listener would notice and they definitely would have noticed the snake hiding behind my front "teeth". I dunno about a decent mic pre "helping" but I do know that a crappy mic pre can definitely hurt.
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Post by johneppstein on Apr 24, 2017 16:09:29 GMT -6
Shanghai electronics has two closet size anechoic chambers one were they test each of our capsules to match our benchmark response curve and one at the end of the production line that every microphone is run through before shipping to us. We then extensively test each microphone when it arrives here in our shop. Hi Dave, great post. I have a question about the above passage - isn't "closet size" a bit small for an anechoic chamber? Specifically, wouldn't it render lower fgrequency measurements to be somewhat inaccurate and possibly compromise the quality of the anechoic treatment up into the mids (depending on the size of the closet) I've been in two or three laboratory anechoic chambers and they've all been the size of medium to large-ish rooms, with anechoic foam wedges about two or three feet deep at least. I also don't see how it would be possible to get accurate off-axis response measurements with an undersized chamber... It's my understanding that the depth of the wedges needs to be a minimum of quarter wave to be effective.
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Post by johneppstein on Apr 24, 2017 16:17:03 GMT -6
Hey Dave - thanks for being here! Question. Why are there not darker options available in both sdc and ldc? The number one complaint I hear is that more affordable mics are too brite, yet I can't think of a single one that some might consider darker. For my personal taste, I would much rather put that top in with my own eq than try to dig it out. Absolutely!
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Post by ericn on Apr 24, 2017 16:42:33 GMT -6
Shanghai electronics has two closet size anechoic chambers one were they test each of our capsules to match our benchmark response curve and one at the end of the production line that every microphone is run through before shipping to us. We then extensively test each microphone when it arrives here in our shop. Hi Dave, great post. I have a question about the above passage - isn't "closet size" a bit small for an anechoic chamber? Specifically, wouldn't it render lower fgrequency measurements to be somewhat inaccurate and possibly compromise the quality of the anechoic treatment up into the mids (depending on the size of the closet) I've been in two or three laboratory anechoic chambers and they've all been the size of medium to large-ish rooms, with anechoic foam wedges about two or three feet deep at least. I also don't see how it would be possible to get accurate off-axis response measurements with an undersized chamber... It's my understanding that the depth of the wedges needs to be a minimum of quarter wave to be effective. In terms of the big guns (Shure, Sennhieser, EV, AKG and some large research facilities yeah it's tiny. As far as the modern builder no it's normal! In fact I'll bet most QC, even by the big guns is done in something similar!! As in most industries realesate is one of the most valuable commodities!
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Post by johneppstein on Apr 25, 2017 15:06:29 GMT -6
I don't think Cascade make the C77 anymore? The 77dx was the RCA ribbon I found the most useful. The 77DX had a variable tuned acoustic port so you could change the pattern from OMNI thru cardiod to FIG 8. Its the only ribbon I know that had a variable pattern. I will ask Shanghai if they still have the 77dx body and I might bring some in as I think there is a niche for a good 77DX clone. Dave, An RCA 77DX clone would be very cool. The Altec 639 is also a ribbon with variable polar patterns, but it used a dynamic element to do so. In omni it is using the dynamic mode. In figure 8, Ribbon mode. In cardioid both. I have on here. Mario Lanza used one for all the vocals for "The Great Caruso," Judy Garland for "The Wizard of Oz." It's more nostalgic than anything for me, but cool. The Altec 670 "Baby Birdcage" was also a variable pattern ribbon but without the additional moving coil element. www.coutant.org/altec670/
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Post by aamicrophones on Apr 26, 2017 18:47:48 GMT -6
Hello, the "tabletop" closet size anechoic chamber will not represent the low end as you stated.
We are basically looking at the response in cardiod from 1khz to 20hz to make sure that the rise in capsule response in the upper midrange and high end is within our requirements.
The AK47 should not rise more than +4db at 3-5khz.
The AK12 should not rise more than 2db at 3khz and not be up more than 6db at 12khz.
The AK67 capsule should not rise more than 6db at 12khz and should not be up 2db until 7khz.
Once the capsule meets this benchmark we find the low frequency response does not change much from capsule to capsule and they are all flat down to 40hz.
The AK12 is flat down to nearly 20hz.
Cheers, Dave
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Post by aamicrophones on Apr 26, 2017 18:55:52 GMT -6
Wow, a 670a. I have never seen one of the those had no idea Altec made a ribbon with a variable pattern. It would be worth re-ribboning if you found one at a Flea Market or Thrift store.
I have used a 639 plus I re-wired a cable for one once. We had an RCA 44a at the Vancouver Planetarium production studio back in the 90's. It didn't get much use I remember.
Cheers, Dave
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Post by aamicrophones on Apr 26, 2017 19:38:33 GMT -6
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Post by aamicrophones on Apr 27, 2017 21:29:07 GMT -6
Hi Vincent, did you use any compression on the Mona Lisa vocal?
I just got a file of our CM48T vs a U4. Just going to listen to it down in the Studio and then post a dropbox link.
Cheers, Dave
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Post by Vincent R. on Apr 28, 2017 10:50:18 GMT -6
Hey aamicrophones , Yes, there is compression. I used the soft tube Summit TLA-100 compressor. It's probably my favorite compressor plugin for vocals. I've used it on classical recordings, pop recordings, and R&B recordings. It makes me really want to grab the real deal compressor. I have to check my signal chain, but I believe it is UAD Studer 800, Slate's VCC with the Trident setting, Slate SSL EQ for the rolloffs, UAD Pultec EQ just for flavor with No boosts of cuts, slate revival (exciter), into the TLA-100. Reverb was Altiverb's EMT 140 plate. Master bus was Slate VCC Trident again into the Slate FGMU (vari-mu) compressor, I believe there is also Greg Well's Mix Centric, Kramer Master Tape. Orchestration: Piano: Ivy Audio Room 162 Bass: Native Instruments Brass: Native Instruments Pro Session Horns Strings: East West Hollywood Strings Percussion: EW Goliath Reverb was altiverb. It was one of the studio live rooms. I forget which. Thats the whole session. Thanks for the clips of the CM28. It gives a good idea how it sounds. If you find the woodwind clips I'd be interested to hear it. Any strings recorded with it; Violin, Viola, or Cello? Can't to hear the CM48T vs the U47. Looking forward to getting one in here. I had a Peluso 2247se for a few years and have some experience with a Wagner U47W made from all NOS parts with an M7 capsule and VF14 tube. That mic sounded incredible. Not quite right for me, but incredible.
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Post by backbeatdrumco on Apr 28, 2017 10:56:34 GMT -6
Anybody have any audio clips of the cm1084 in action. Trying to weigh the options of getting a pair of those or the cm414's.
I'm mainly recording drums.
Any help?
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Post by aamicrophones on Apr 28, 2017 15:32:17 GMT -6
Hello, I should record some drum tracks with the CM1084. I have the CM1084 on Hi Hat but I prefer the CM414's as overheads. I like the extra low end I get from the LDC's on the toms and the kick leakage.
The only file I have is a single CM1084 over a snare/hi-hat/ride cymbal live. The CM414 microphones are $379 and the CM1084's are $349 each. Plus, RGO members get a 10% discount with the Promo Code "RGO".
The CM1084 is easier to get in close on a snare drum but the FIG 8 of the CM414 might be of advantage in some scenarios.
In haste, as I have a gig tonight playing percussion and will be using a CM1084 with the super-cardiod capsule on the percussion.
Cheers, Dave aamicrophones.com
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Post by backbeatdrumco on Apr 30, 2017 2:26:46 GMT -6
Could you send me something of the cm414's in action Dave? I'm very intrigued about them as well.
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