|
|
Post by stormymondays on Dec 22, 2020 8:59:14 GMT -6
No need to guess, listen to the video above.
|
|
|
|
Post by chessparov on Dec 22, 2020 11:04:46 GMT -6
Does it have 90% Clam Rejection too? Then they could call it the Official Mussel Shoals Signature Edition!  Chris |
|
|
|
Post by chessparov on Dec 22, 2020 11:17:18 GMT -6
Fab Dupont used the Lauten 208 and 308 for this recording. As you can see in the video, the musicians are all grouped in the same tight space, so there is a lot of potential for bleed. I've downloaded the stems from the session and the 308 on the kick drum has absolutely zero bleed from the other instruments. The 208 is on the lead vocal and there is fairly minimal bleed considering how close everyone is. Pretty impressive. "Pretty Impressive" So what do you think of the recording?  A M88 and/or 441 shootout, versus this line of microphones, would be interesting indeed. Chris |
|
|
|
Post by EmRR on Feb 1, 2022 17:50:10 GMT -6
Circling back......who's tried them? Might try to talk a live music broadcast gig into trying one for acoustic guitars in front of stage monitors......
|
|
|
|
Post by phdamage on Feb 2, 2022 9:29:59 GMT -6
Whoa never heard of these! Would love to hear/see some reviews from actual users.
|
|
|
|
Post by EmRR on Feb 2, 2022 10:12:40 GMT -6
Whoa never heard of these! Would love to hear/see some reviews from actual users. Very few reviews. Virtually no mention anywhere, past the press release. You can exhaust Google pretty fast on these. |
|
|
|
Post by recordingengineer on Feb 2, 2022 18:07:32 GMT -6
I almost tried one when first came out. Again when on sale. Wanting to now yet again. Still haven’t.
|
|
|
|
Post by drumsound on Feb 3, 2022 2:06:40 GMT -6
I believe Greg Wells is into these.
|
|
|
|
Post by EmRR on Jun 17, 2022 10:42:24 GMT -6
Got an LS-308, been using it on acoustic bass onstage with drums with pretty good results, bassists loves it and got his own. With the right placement, drums are still there but back, like they’re eq’d slightly behind the bass. First thing I’ve tried that would let you ignore the DI signal altogether in a bunch of situations. It's been good as a distant mic on cranked gtr amp, sounds much closer than it is, and doesn't sound like a shotgun. Rolls off the fizzy top end nicely. It definitely needs a non-moving target, it didn't do any better than the usual suspects for rejecting a stage wedge from an acoustic guitar (a well placed SDC figure 8 does better….$$$$), and when the player moved you lost them more. It's definitely a dark and fat sounding mic. Can't really imagine needing the LPF switches. Might try it on a floor tom that's tight with a ride cymbal, no idea on that. You read the reviews, many say something bizarre like “coupled with a cardioid SDC to get the treble back”….read between the lines on the darkness and call bullshit on that combo, which would undo the purpose of the mic. Have an LS-208 coming to audition, pattern nowhere near as tight, looks a good bit brighter on paper, we’ll see what it’s good for.
|
|
ericn
Temp
Balance Engineer
Posts: 16,100 
Member is Online
|
Post by ericn on Jun 17, 2022 17:23:49 GMT -6
Got an LS-308, been using it on acoustic bass onstage with drums with pretty good results, bassists loves it and got his own. With the right placement, drums are still there but back, like they’re eq’d slightly behind the bass. First thing I’ve tried that would let you ignore the DI signal altogether in a bunch of situations. It's been good as a distant mic on cranked gtr amp, sounds much closer than it is, and doesn't sound like a shotgun. Rolls off the fizzy top end nicely. It definitely needs a non-moving target, it didn't do any better than the usual suspects for rejecting a stage wedge from an acoustic guitar (a well placed SDC figure 8 does better….$$$$), and when the player moved you lost them more. It's definitely a dark and fat sounding mic. Can't really imagine needing the LPF switches. Might try it on a floor tom that's tight with a ride cymbal, no idea on that. You read the reviews, many say something bizarre like “coupled with a cardioid SDC to get the treble back”….read between the lines on the darkness and call bullshit on that combo, which would undo the purpose of the mic. Have an LS-208 coming to audition, pattern nowhere near as tight, looks a good bit brighter on paper, we’ll see what it’s good for. That’s the problem with a lot of live mics designed by studio guys, they just don’t understand how much movement there is. Of course these same designers will also have a heart attack the second I pull an Omni out ring the wedges and bam no worries about change in tone do to movement, these same guys love super and hyper cardiods because narrower pattern means less feedback, sure till the vocalist turns to the side and that wedge lines right up with the back lobe. The trick is to ring the wedges with the mic moving. Don’t know how many rigs I have had to work with where if the mics and performers are completely still it’s awesome, but even the dead are living and breathing. Funny story related so. I’m wring out some wedges this AM (not mine) and I keep getting calls from a Spam risk. After blocking to of there out going numbers I have had so I point a 57 at a wedge at a foot away, answer the third attempt wait till a human picks up and in mute the rig and let it howl right into my IPhone. No more calls 😎 |
|
|
|
Post by drumsound on Jun 17, 2022 22:41:38 GMT -6
Got an LS-308, been using it on acoustic bass onstage with drums with pretty good results, bassists loves it and got his own. With the right placement, drums are still there but back, like they’re eq’d slightly behind the bass. First thing I’ve tried that would let you ignore the DI signal altogether in a bunch of situations. It's been good as a distant mic on cranked gtr amp, sounds much closer than it is, and doesn't sound like a shotgun. Rolls off the fizzy top end nicely. It definitely needs a non-moving target, it didn't do any better than the usual suspects for rejecting a stage wedge from an acoustic guitar (a well placed SDC figure 8 does better….$$$$), and when the player moved you lost them more. It's definitely a dark and fat sounding mic. Can't really imagine needing the LPF switches. Might try it on a floor tom that's tight with a ride cymbal, no idea on that. You read the reviews, many say something bizarre like “coupled with a cardioid SDC to get the treble back”….read between the lines on the darkness and call bullshit on that combo, which would undo the purpose of the mic. Have an LS-208 coming to audition, pattern nowhere near as tight, looks a good bit brighter on paper, we’ll see what it’s good for. That’s the problem with a lot of live mics designed by studio guys, they just don’t understand how much movement there is. Of course these same designers will also have a heart attack the second I pull an Omni out ring the wedges and bam no worries about change in tone do to movement, these same guys love super and hyper cardiods because narrower pattern means less feedback, sure till the vocalist turns to the side and that wedge lines right up with the back lobe. The trick is to ring the wedges with the mic moving. Don’t know how many rigs I have had to work with where if the mics and performers are completely still it’s awesome, but even the dead are living and breathing. Funny story related so. I’m wring out some wedges this AM (not mine) and I keep getting calls from a Spam risk. After blocking to of there out going numbers I have had so I point a 57 at a wedge at a foot away, answer the third attempt wait till a human picks up and in mute the rig and let it howl right into my IPhone. No more calls 😎 FAN-FUCKING-TASTIC! |
|
|
|
Post by EmRR on Jun 18, 2022 9:16:19 GMT -6
I don’t know that these are really being marketed for live use, it’s just what I’m doing. The demos are for sure all studio stationary.
Funny the usual bass mic is a DPA omni….it gets a tambourine 40 feet away clearly! Unusable with drums.
Was hoping for more with acoustics and stage wedges, but there’s only so much you can dream when they want the wedges volcanic.
|
|
|
|
Post by EmRR on Jul 18, 2022 8:13:16 GMT -6
The LS-208 is sounding good in live vocal apps, don’t have a real feeling about bleed compared to others yet. The filter switches are definitely useful for tailoring to different singers.
|
|
|
|
Post by EmRR on Jul 21, 2022 22:43:58 GMT -6
The 208 is still impressing with live vocals. The 308 is not as isolated as a beta 57 on acoustic guitar, when the player is a singer and there’s a floor wedge. With the 208 on vocal and a beta 57 on acoustic, i can get a whole lot more actual acoustic sound and leave the DI sound down in the mix. Primarily a change in the threshold of phasey-ness between the vocal and the vocal bleed in the acoustic mic. Tonight I had vocal and acoustic with drums behind them, could get plenty of acoustic mic and if I solo’d the vcl there was little trace of anything else.
FWIW….
|
|
|
|
Post by orphic on Aug 10, 2022 12:40:13 GMT -6
I just ordered a 308 after seeing Darrel Thorp use one on toms/floor. I'll experiment on that application and report back. (I normally use a CAD M179 on figure of 8 for this.)
|
|
|
|
Post by orphic on Aug 28, 2022 6:37:37 GMT -6
So I compared an LS-308, an M179 and an Audix D4 on a floor tom. The differences were almost embarrassing. Going from the D4 to the M179, bass became more alive, less honky, and overall more powerful. The difference between the LS-308 and the M179 was less pronounced, but the LS-308 sounded much more natural. Lows went lower, sounded bigger and you kinda felt the attack coming from lower in the frequency range rather than from the mids. The M179, although it sounded good and could have produced similar results with some EQ, sounded more honky, it had too much energy around the 500 area, and the lows didn't go as deep and weren't as powerful.
I did the same exercice on toms, and the difference was much more subtle. Ended up leaving the M179 on toms and using the LS-308 on floor. I'm sure the LS-308 would be great in front of a kick drum. It really captures the low-lows beautifully. If I had the money, I would buy another LS-308 for toms. It makes a huge difference on floor.
|
|
|
|
Post by EmRR on Aug 28, 2022 9:10:38 GMT -6
Lows went lower, sounded bigger and you kinda felt the attack coming from lower in the frequency range rather than from the mids. I'm sure the LS-308 would be great in front of a kick drum. It really captures the low-lows beautifully. If I had the money, I would buy another LS-308 for toms. It makes a huge difference on floor. Yeah, the lows never quit, it's definitely a feature of the mic. It's still winning acoustic bass pickup on stage with drums for me. |
|
|
|
Post by fellowshiphallsound on Aug 28, 2022 12:08:22 GMT -6
The LS-208 has become my vocal mic of choice when tracking with a band. I use it in place of an SM-7.
I recently made a record where we intended to recut vocals with the studio's U-48, but ended up keeping live off the floor vocals for half the record. I was REALLY glad I used the LS-208 for tracking vocals since they ended up being keepers!
That record comes out next month but you can hear the LS-208 on the single ~ John Fullbright "Paranoid Heart"
I had the 308 for a minute, but sent it back. I only tried it on acoustic guitar (again, while tracking with a band), but the proximity effect was too much for my application.
JW
|
|
|
|
Post by orphic on Aug 29, 2022 7:05:34 GMT -6
The LS-208 has become my vocal mic of choice when tracking with a band. I use it in place of an SM-7. I recently made a record where we intended to recut vocals with the studio's U-48, but ended up keeping live off the floor vocals for half the record. I was REALLY glad I used the LS-208 for tracking vocals since they ended up being keepers! That record comes out next month but you can hear the LS-208 on the single ~ John Fullbright "Paranoid Heart" I had the 308 for a minute, but sent it back. I only tried it on acoustic guitar (again, while tracking with a band), but the proximity effect was too much for my application. JW Yeah, it's not made to be put too close to the source. But normally you don't need to. The bleed rejection and the hypercardioid polar pattern makes it unnecessary in most cases. HPF (50hz or 120hz) comes in handy in those situations. |
|
|
|
Post by fellowshiphallsound on Aug 29, 2022 7:23:28 GMT -6
The LS-208 has become my vocal mic of choice when tracking with a band. I use it in place of an SM-7. I recently made a record where we intended to recut vocals with the studio's U-48, but ended up keeping live off the floor vocals for half the record. I was REALLY glad I used the LS-208 for tracking vocals since they ended up being keepers! That record comes out next month but you can hear the LS-208 on the single ~ John Fullbright "Paranoid Heart" I had the 308 for a minute, but sent it back. I only tried it on acoustic guitar (again, while tracking with a band), but the proximity effect was too much for my application. JW Yeah, it's not made to be put too close to the source. But normally you don't need to. The bleed rejection and the hypercardioid polar pattern makes it unnecessary in most cases. HPF (50hz or 120hz) comes in handy in those situations. I should have spent more time with the LS-308, for sure. Have you used it on acoustic guitar with a live vocal at the same time? The eternal quest for me ~ balancing bleed and phase. |
|
|
|
Post by orphic on Aug 29, 2022 7:36:17 GMT -6
Yeah, it's not made to be put too close to the source. But normally you don't need to. The bleed rejection and the hypercardioid polar pattern makes it unnecessary in most cases. HPF (50hz or 120hz) comes in handy in those situations. I should have spent more time with the LS-308, for sure. Have you used it on acoustic guitar with a live vocal at the same time? The eternal quest for me ~ balancing bleed and phase. Haven't tried it on acoustic guitar yet, but it's definitely not a mic I would use on vocals. The frequency response is very uneven (which is a good thing on a lot of sources, such as electric guitar, bass, toms/floor, etc.). The LS-208 seems to be the ticket for vocals and bleed rejection. |
|
|
|
Post by EmRR on Aug 29, 2022 8:40:21 GMT -6
Yeah, it's not made to be put too close to the source. But normally you don't need to. The bleed rejection and the hypercardioid polar pattern makes it unnecessary in most cases. HPF (50hz or 120hz) comes in handy in those situations. I should have spent more time with the LS-308, for sure. Have you used it on acoustic guitar with a live vocal at the same time? The eternal quest for me ~ balancing bleed and phase. Read my other comments about the 308 and acoustic. I didn't find it useful there. It makes an extremely strange acoustic sound, regardless of bleed. |
|
|
|
Post by fellowshiphallsound on Aug 29, 2022 9:06:59 GMT -6
I should have spent more time with the LS-308, for sure. Have you used it on acoustic guitar with a live vocal at the same time? The eternal quest for me ~ balancing bleed and phase. Read my other comments about the 308 and acoustic. I didn't find it useful there. It makes an extremely strange acoustic sound, regardless of bleed. Thx! This confirms my limited experience w the 308. |
|
|
|
Post by fellowshiphallsound on Aug 29, 2022 9:09:38 GMT -6
I should have spent more time with the LS-308, for sure. Have you used it on acoustic guitar with a live vocal at the same time? The eternal quest for me ~ balancing bleed and phase. Haven't tried it on acoustic guitar yet, but it's definitely not a mic I would use on vocals. The frequency response is very uneven (which is a good thing on a lot of sources, such as electric guitar, bass, toms/floor, etc.). The LS-208 seems to be the ticket for vocals and bleed rejection. Yes the LS-208 is my first choice for vocals in just about every situation at this point (see my earlier post re using it on the new John Fullbright record). I’ve got other mics I prefer over the 308 on acoustic for sure. |
|
|
|
Post by Quint on Mar 30, 2023 15:35:39 GMT -6
I just ordered a 308 after seeing Darrel Thorp use one on toms/floor. I'll experiment on that application and report back. (I normally use a CAD M179 on figure of 8 for this.) This Darrel Thorpe video? |
|
