These look fantastic and I plan on picking up a pair! I looked on the site but still have a question: when does the pre-sale pricing end and around what date/month will they actually ship out?
Not sure how long we are going to run pre-sale special, yet. Usually, we go to the 'normal' price after the first bigger batch, so all production is figured out. I already wrote all the machining CNC files for all the parts, we figured out all the suppliers, so if nothing unforseen happens we should start shipping in some 4 weeks.
OK, someone has to ask. Is that actually the color scheme, or is it a cutaway view? All black would be preferable, but that's just my opinion.
It is actually the color scheme. The main problem here is the side bars will need to stay metal grey (otherwise, we won't be able to keep that price), so we felt the front screen will compliment it better if left grey, as well. If needed, we can make the front screen black, no problem... just never thought of checking it out...
Mark F. what's your recommended minimum distance for vocalists, on the AL95? (assuming pop screen) Thanks, Chris
Because of proximity ribbons tend to get choked with close miking. The minimum I'd give some 6". In general, the AL95's piston ribbon has very nice control in the low mids, so it doesn't get as boomy, as usual 'zig-zag' corrugation. Also, it has a good 'reach', so I'd suggest some 8"-12" for the mic to 'breath', but it also depends on the source. For example, I have quite low voice and for me it works the best at some 12"-14". On the other hand, for some female (esp. high pitch) voices when you need more body you could move it closer to some 6". If the longer distances the room becomes a problem you could also experiment with back reflection filters.
Thanks so much Mark. My guess is then, is that I'd need to be about a foot away, in full baritone. In my smaller/brighter 2nd Tenor range, sounds like at least 8" away.
My good recording Buddy and I both (respectively) have basic Reflexion filters (his Project Studio has otherwise better acoustics vs. my home). But my workplace (afterhours) sounds OK. Chris
Those distances sound like a good start. When using reflexion filters remember they do change the pressure gradient behavior of the mic, so if you place it too close you might find the mic sounding thinner--with more top and less bottom ends. You could use it to your advantage to control the tonal balance and proximity.
It should... but then it depends on 'how loud'. The best way to check it is we always suggest is bring your palm to the source. If you can feel strong air movement then try it with a pop filter (I greatly prefer the air flaw redirection ones). The light movements should be OK.
Are there any remarkable American or British orchestral recordings made with ribbon mics from the 1940s around? The German ones with Neumanns of that time period are breathtaking
I wish I could answer this great question. It is even harder because at that era they did not care to list equipment the recordings were made with and there are very few orchestra video recordings were made, so we could see the mics. Rachmaninov with Ormandy and Philadelphia from 40s were particularly bad in quality. I know that Stokowski was greatly concerned with the recorded sound and closely worked with Bell Labs. I was trying to make a search on youtube and the earliest could find his recording from 1965. You could clearly see a bunch of Neumanns here:
I would think in 30s-40s all recordings in US all were made with ribbons since at that time Harry Olson (who was a great advocate of ribbon microphones) was dominating and shaping US market. Surely RCA 44 and early 77's (which were quite different from later DX ones) were great mics for the right sources, but OTOH, either did not have the bandwidth needed. Olson was more concerned in mass production, so the quality was limited.
There were very few ribbon microphones from that era, which could have the bandwidth and linearity needed for such a wide spectrum and tonal balance source as an orchestra. From top of my head I could say Siemens (which was quite remarkable cardioid ribbon even by modern standards, regardless it was the first commercial ribbon mic ever made); some Marconi, BBC and Melodium ribbons... Since Blumlein invented his stereo technique in early 30s I am sure there could be some great recordings made then if using those mics...
Lots of my speculations here. It is really fascinating discussion, though!
Cannot help, but post here a couple of larger ensemble recordings made just with a single VL373A in Blumlein configuration. No spot mics, no EQ, or processing of any kind:
Hey there Mark, have we reached the numbers yet to make this mic? When can we expect it out for those who took up the intro offer?
The mic received lots of interest and we received high volume of orders, which we did not expect. We had to adjust the production, but unfortunately, I unexpectedly and urgently had to go out of country till second week of August. We will resume the production and start sending the mics after my coming back.