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Post by reddirt on Sept 24, 2017 0:29:03 GMT -6
Vincent, your voice compels me to congratulate you; your pitch, intonation, vibrato, breathing, tone and measured delivery are things of real class . The truly lovely thing though is the unfettered expression of the person behind it. I would be a happy man if all that ability was mine... Cheers.
Further to that, the fact that you are so interested in the technical side whilst having the musical so well sorted is a bit rare so thank you for sharing.
As to the mic, on my computer speakers it does a great job of getting out of the way and sounds big league.
As you probably already know, Beesneez have a new 49 copy at a really good price; perhaps to sample all the contenders, you should alert Ben (Sneezby - owner) to this thread and see if he'd be prepared to loan you one - he'd be mad if he didn't especially if you loved it...
Thanks again, Ross
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Post by Martin John Butler on Sept 24, 2017 8:10:39 GMT -6
Sounds great Vincent.
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Post by aamicrophones on Sept 26, 2017 14:16:38 GMT -6
Hi Guys, really proud of the way the CM49 stands up. With Vincent's amazing vocals it sound like a Class Act. Just turned 70 last week and it was a great birthday present to get this file from Vincent. I have a new CM49LE on the drawing board and we are just pricing it out. We have found a larger body the same size as the M49 and we can fit a larger frame BV11 transformer with the exact same windings and inductance as the original in the M49. We believe this will give us a little more "warmth" in the low midrange. We will use the same circuit as our CM48T with the GE/JAN 5654w configured as a triode with cathode bias like the M49C. However, the circuit will have the remote 9 pattern switching option. I just ordered a large frame BV11 transformer that we can try with the circuit. So, its still just on the drawing board at the moment but we have two major studios that are very interested in the build. Thanks for all your support which gives me the inspiration to carry on. Cheers, Dave
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Post by Vincent R. on Sept 26, 2017 18:41:33 GMT -6
Vincent, your voice compels me to congratulate you; your pitch, intonation, vibrato, breathing, tone and measured delivery are things of real class . The truly lovely thing though is the unfettered expression of the person behind it. I would be a happy man if all that ability was mine... Cheers. Further to that, the fact that you are so interested in the technical side whilst having the musical so well sorted is a bit rare so thank you for sharing. As to the mic, on my computer speakers it does a great job of getting out of the way and sounds big league. As you probably already know, Beesneez have a new 49 copy at a really good price; perhaps to sample all the contenders, you should alert Ben (Sneezby - owner) to this thread and see if he'd be prepared to loan you one - he'd be mad if he didn't especially if you loved it... Thanks again, Ross Ross, I'm sorry for not replying sooner. I had gigs all weekend and I've been doing some filming/recording with the REDD Microphone for my upcoming review, and I didn't want to leave a generic "thanks" post. I really appreciate your kind words. I don't have to tell most of you how much hard work goes into making something look easy. It always reminds me that I'm on the right journey when my peers tell me how much they appreciate what I'm doing. For me every song has a story. If you don't convey the story properly it doesn't matter how beautifully sung the song is, you've failed. So I strive to do that. I also realize how lucky I am that god chose to bless me with the instrument he did. So my desire is to share it and bring joy to my audience whether live or online. As for my interest in recording, it started as a necessity to keep up with the studio recording work I was getting in my early 20s, culminating with my recordings with Christopher Lee, and exploded when I failed to properly record and produce my first album by myself. I hired a very talented engineer to do it and I think it turned out well. It just never was quite what I wanted it to be. So I've spent the last 5 years learning, starting first by picking the engineer's brain who recorded and mixed my album and then by trying every mic, piece of gear, or emulation I could get my hands on. Mixing and remixing everything I ever recorded with every new technique I learned. In today's market you have to be able to do everything yourself, or the money not to need to. I am in love with making music and whether I'm on stage in front of a thousand people or in my basement in front of a microphone, nothing brings me more joy. As for the microphone thoughts, I'll comment on that in the other thread. I am very curious to see what Dave has in store for his CM49LE though. Thanks again, Vinnie
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Post by iamasound on Sept 27, 2017 8:16:06 GMT -6
Thanks for taking me along with you on that magical trip, it was truely wonderful to feel her lips on mine.
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ericn
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Balance Engineer
Posts: 14,956
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Post by ericn on Sept 27, 2017 9:31:57 GMT -6
Hi Guys, really proud of the way the CM49 stands up. With Vincent's amazing vocals it sound like a Class Act. Just turned 70 last week and it was a great birthday present to get this file from Vincent. I have a new CM49LE on the drawing board and we are just pricing it out. We have found a larger body the same size as the M49 and we can fit a larger frame BV11 transformer with the exact same windings and inductance as the original in the M49. We believe this will give us a little more "warmth" in the low midrange. We will use the same circuit as our CM48T with the GE/JAN 5654w configured as a triode with cathode bias like the M49C. However, the circuit will have the remote 9 pattern switching option. I just ordered a large frame BV11 transformer that we can try with the circuit. So, its still just on the drawing board at the moment but we have two major studios that are very interested in the build. Thanks for all your support which gives me the inspiration to carry on. Cheers, Dave Dave I hope I have some cash when the 49LE hits because I want to hear one!
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Post by stormymondays on Oct 11, 2017 6:34:34 GMT -6
I have finally used my CM47 on kick drum, one feet away, dead center. Instant "finished" sound! I'm even willing to live with the (great sounding) leakage. It sounds like an actual kick drum, instead of my usual "sounds like a mic stuck in the hole of a kick drum".
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Post by Johnkenn on Oct 11, 2017 17:16:20 GMT -6
I really need to try one of these.
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Post by aamicrophones on Nov 1, 2017 16:44:57 GMT -6
I have finally used my CM47 on kick drum, one feet away, dead center. Instant "finished" sound! I'm even willing to live with the (great sounding) leakage. It sounds like an actual kick drum, instead of my usual "sounds like a mic stuck in the hole of a kick drum". Did you use the CM47 or our CM47FET? The FET can handle more level but the CM47 tube microphone can also handle a lot of level without a PAD. I really like our CM47fet in front of the kick and in front of the bass amp. Here is a live in the studio shot of a very famous vocalist singing into our CM47ve in Nashville a few weeks ago. I have been listening to John's voice since the early 70's. I was stoked to get this picture sent to me by my good friend Joe Carrell. I have a sample body and T49 transformer arriving next week so I will be able to build up the CM49LE prototype. I have the circuit boards and tubes on hand. I hope to have the circuit and body logistics worked out before I head for Mexico on December 9th and then its 8-10 weeks before we have bodies finished with circuit boards and transformer mounted. So, we are looking at an early Spring soft release of the CM49LE and then release it for review for Summer Namm 2018. Our goal is to sell it for around $1495 depending on our final cost. Cheers, Dave
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Post by stormymondays on Nov 1, 2017 17:01:22 GMT -6
I used the tube CM47. I had to pad at the preamp, but it was fine, no overload.
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Post by Vincent R. on Nov 1, 2017 17:45:44 GMT -6
I used the tube CM47. I had to pad at the preamp, but it was fine, no overload. What were you recording? I've never had that issue with any of their mics. In fact the output isn't even as hot as my U87ai.
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Post by stormymondays on Nov 1, 2017 19:50:52 GMT -6
I used the tube CM47. I had to pad at the preamp, but it was fine, no overload. What were you recording? I've never had that issue with any of their mics. In fact the output isn't even as hot as my U87ai. Bass drum, 1 foot away
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Post by Vincent R. on Nov 1, 2017 19:57:57 GMT -6
Ah. That makes sense.
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Post by aamicrophones on Nov 14, 2017 20:20:10 GMT -6
What were you recording? I've never had that issue with any of their mics. In fact the output isn't even as hot as my U87ai. Bass drum, 1 foot away You would definitely have to PAD a CM47 in front of the kick drum. That's a lot of level. Unfortunately, when you pad preamp at the input side then you reduce some of the transformer sound. This does not happen with transformerless circuit but you need a really good transformerless circuit to handle those kinds of transients. Our MT8016 transformer coupled preamp can handle the CM47 kick level without padding before the transformer. Like the Neve 1073 we pad after the transformer, keeping all the transformer sound but dropping the level so the first stage is not overloaded. Our MT8016 also has two gain stage like the 1073 that are brought up in two tandem 30db stages. The input transformer has 16db of voltage gain. Cheers, Dave aamicrophones.com
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Post by aamicrophones on Nov 16, 2017 3:08:54 GMT -6
Hello, our CM67se microphone has a -10db pad and we can easily customize it with our CM47 head grill but its about $200 for the larger body, -10db pad and HP filter options.
I often use the CM67se microphones as drum overheads usually with the 10db pad engaged.
Cheers, Dave
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Post by notneeson on Jul 19, 2018 15:42:02 GMT -6
What were you recording? I've never had that issue with any of their mics. In fact the output isn't even as hot as my U87ai. Bass drum, 1 foot away I've been having a similar issue with a WA47 on FOK (centered low in front of the kick, but a few feet back). I hit on a novel solution that sounds surprisingly good: I put a spare 703 panel on a guitar stand directly between the mic and the bass drum and knocked some SPL off while keeping plenty of 60-200hz. Unconventional, but I was pretty happy with the results.
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Post by the other mark williams on Jul 23, 2018 0:53:15 GMT -6
Bass drum, 1 foot away I've been having a similar issue with a WA47 on FOK (centered low in front of the kick, but a few feet back). I hit on a novel solution that sounds surprisingly good: I put a spare 703 panel on a guitar stand directly between the mic and the bass drum and knocked some SPL off while keeping plenty of 60-200hz. Unconventional, but I was pretty happy with the results. Wow, really interesting idea. I have to say I would never have thought of that. Very cool.
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ericn
Temp
Balance Engineer
Posts: 14,956
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Post by ericn on Jul 23, 2018 21:03:25 GMT -6
Bass drum, 1 foot away I've been having a similar issue with a WA47 on FOK (centered low in front of the kick, but a few feet back). I hit on a novel solution that sounds surprisingly good: I put a spare 703 panel on a guitar stand directly between the mic and the bass drum and knocked some SPL off while keeping plenty of 60-200hz. Unconventional, but I was pretty happy with the results. Eric’s first rule of audio : don’t knock what works.
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Post by Vincent R. on Aug 9, 2018 18:01:11 GMT -6
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Post by forgotteng on Oct 31, 2018 14:31:59 GMT -6
I'm pretty pumped that I just ordered a CM28. Can't wait to try it out.
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Post by nick8801 on Oct 31, 2018 17:08:08 GMT -6
Hi Guys, really proud of the way the CM49 stands up. With Vincent's amazing vocals it sound like a Class Act. Just turned 70 last week and it was a great birthday present to get this file from Vincent. I have a new CM49LE on the drawing board and we are just pricing it out. We have found a larger body the same size as the M49 and we can fit a larger frame BV11 transformer with the exact same windings and inductance as the original in the M49. We believe this will give us a little more "warmth" in the low midrange. We will use the same circuit as our CM48T with the GE/JAN 5654w configured as a triode with cathode bias like the M49C. However, the circuit will have the remote 9 pattern switching option. I just ordered a large frame BV11 transformer that we can try with the circuit. So, its still just on the drawing board at the moment but we have two major studios that are very interested in the build. Thanks for all your support which gives me the inspiration to carry on. Cheers, Dave I’m very interested in this!
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Post by aamicrophones on Oct 31, 2018 19:36:57 GMT -6
I'm pretty pumped that I just ordered a CM28. Can't wait to try it out. Hello, thanks for ordering the CM28 from us. Here is a picture of the CM28 and our CM12se on Nashville Studio player Dave Cleveland at Sony Tree studios Nashville.
Cheers, Dave
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Post by forgotteng on Oct 31, 2018 20:32:29 GMT -6
I'm pretty pumped that I just ordered a CM28. Can't wait to try it out. Hello, thanks for ordering the CM28 from us. Here is a picture of the CM28 and our CM12se on Nashville Studio player Dave Cleveland at Sony Tree studios Nashville.
Cheers, Dave
Thanks Dave. I have been wanting one for a while. (Of course I really want a pair but that will have to wait a spell.) I have a pair of CM54’s. Any reasons I should switch those out for the 1084’s?
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Post by aamicrophones on Nov 1, 2018 0:33:41 GMT -6
Bass drum, 1 foot away I've been having a similar issue with a WA47 on FOK (centered low in front of the kick, but a few feet back). I hit on a novel solution that sounds surprisingly good: I put a spare 703 panel on a guitar stand directly between the mic and the bass drum and knocked some SPL off while keeping plenty of 60-200hz. Unconventional, but I was pretty happy with the results.The other thing you can try is to put the microphone in OMNI and put the baffle or a gobo on the other side to reduce room sound. You get 6db less output in OMNI.Cheers, Daveaamicrophones.com
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Post by Ward on Nov 1, 2018 7:56:30 GMT -6
I've been having a similar issue with a WA47 on FOK (centered low in front of the kick, but a few feet back). I hit on a novel solution that sounds surprisingly good: I put a spare 703 panel on a guitar stand directly between the mic and the bass drum and knocked some SPL off while keeping plenty of 60-200hz. Unconventional, but I was pretty happy with the results.The other thing you can try is to put the microphone in OMNI and put the baffle or a gobo on the other side to reduce room sound. You get 6db less output in OMNI.Cheers, Daveaamicrophones.com Funny . . . I use a Neumann U47FET for 'Outside kick' aka FOK duties, and never use a pad and never have any issues with overload. Contrary to Liam's ( notneeson) method's, I actually build a tube/tunnel around the kickdrum out to the outside kick mic position and envelope it to get a pure kick tone from it. The sound is DELICIOUS and never has any overload, not even with a metal drummer. Is the Neumann U47FET more tolerant of high input levels than an AA offering?
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