Old 01-19-2022, 04:24 PM   #1
The Kid
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Default Recommend me a pair of LDCs

It's for recording a philharmonic orchestra.
I have others for spot mics, but I need the main pair.
Not very expensive, please!
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Old 01-19-2022, 07:41 PM   #2
kirk1701
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These are great value.

http://www.3uaudio.com/
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Old 01-20-2022, 04:14 AM   #3
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I am not sure about that particular application but I am more than happy with my Aston:
https://www.astonmics.com/EN/product...20and%20vocals.

But listen to an example I just found!

https://soundcloud.com/martin-mitche...-piano-soloist
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Old 01-20-2022, 04:31 AM   #4
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I've used a pair of these for years on many natural sources to great effect.

https://www.sontronics.com/orpheus

My wife, who is a great singer preferred this to our 1960 original Neumann U67!!!!



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Old 01-20-2022, 04:39 AM   #5
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I've always found Se microphones great. No nasty hyping and pretty flat.

Which one depends on the polar pattern you want.
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Old 01-20-2022, 10:51 AM   #6
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Not clear why you want LDCs for recording an orchestra; many people use a stereo pair of SDCs for that, or four in total (two SDC cardioids in ORTF flanked by two SDC omni mics, the so-called Faulkner array).

The main pair for orchestral recordings is very often a pair of SDCs; Shoeps and Sennheiser are typical. At the low-budget end you can't go wrong with a pair of Line Audio CM4s in NOS.
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Old 01-20-2022, 11:18 AM   #7
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Quote:
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Not clear why you want LDCs for recording an orchestra; many people use a stereo pair of SDCs for that, or four in total (two SDC cardioids in ORTF flanked by two SDC omni mics, the so-called Faulkner array).

The main pair for orchestral recordings is very often a pair of SDCs; Shoeps and Sennheiser are typical. At the low-budget end you can't go wrong with a pair of Line Audio CM4s in NOS.
Great to hear that, I already have a lot of SDCs
I don't know why I thought LDCs would sound better lol
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Old 01-20-2022, 12:11 PM   #8
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Great to hear that, I already have a lot of SDCs
I don't know why I thought LDCs would sound better lol
LDCs might have slightly lower noise floors, but otherwise I don't think you'd see any benefit.
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Old 01-20-2022, 12:14 PM   #9
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CAD M179 I make love to these
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Old 01-20-2022, 12:30 PM   #10
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CAD M179 I make love to these
I trust you practice safe sax!
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Old 01-20-2022, 01:08 PM   #11
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Quote:
Originally Posted by bjohn View Post
LDCs might have slightly lower noise floors, but otherwise I don't think you'd see any benefit.
Agreed. With a lot of common stereo techniques (such as ORTF), a lot of wanted sound is arriving quite a bit off-axis (ORTF has a mutual angle of 110 degrees, for instance). Therefore, the mic's off-axis response is crucial, and SDC are the undisputed champions here- an LDC inherently has poorer off-axis response (and less accurate sound*) due to the size of the diaphragm.

* This "less accurate" sound is often musically flattering, and is one of the main reason why we use LDCs.
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Old 01-20-2022, 01:35 PM   #12
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I trust you practice safe sax!
As a guitarist I always wear a capo when I need to practice safe music...
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Old 01-20-2022, 05:43 PM   #13
Pule
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Beyerdynamic MC930 - nice and warm mike, SE8 smooth and well-balanced microphone, Telefunken M60 - very articulate/neutral and with a dose of finesse, Lineaudio CM3 or CM4 - very correct and linear microphone, slightly weaker output, in some situations it lacks a little articulation, extremely cheap, Neumann KM184 - industry standard in orchestra, very reliable, sound is mostly neutral with a small dose of presence effect (does not suit everyone)

Last edited by Pule; 01-20-2022 at 05:54 PM.
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Old 01-23-2022, 06:10 PM   #14
jnorman34
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I do classical and chamber music, and do not use any LDCs. LDCs generally have rather poor off-axis performance compared to SDCs, and are not commonly used in location work. I use schoeps MSTC64 as mains, with mk21 flanks, and a variety of other sdcs as spots. The above recommendation for line audio CM4s is an excellent choice for an affordable main pair. I just did a 33 piece chamber orchestra where I used two CM4s as section spot mics, and they performed admirably and blended into the main mix of schoeps and neumanns flawlessly.
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Old 01-26-2022, 01:03 AM   #15
Pule
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I recorded/produced this saxquartet cd with only one stereo pair lineaudio cm3 and won the nomination for best sound that year.

https://open.spotify.com/album/4mir6NqALh6Uo27ixmGg0P
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Old 01-30-2022, 05:56 AM   #16
Allybye
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One can hear why you had that nomination @Pule.
If I didn't already have a selection of mics I would be happy to add a cm3 or 4 pair as SDC mics.
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Old 01-30-2022, 09:54 AM   #17
bjohn
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Quote:
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One can hear why you had that nomination @Pule.
If I didn't already have a selection of mics I would be happy to add a cm3 or 4 pair as SDC mics.
They're so cheap it's almost silly NOT to have a couple. The CM3 is no longer made; the CM4 is its successor; slightly less wide cardioid and has a few minor improvements.

The Omni1 (formerly OM1) is also excellent if you want a nice pair of near-field omnis for very little money.

Any two off the shelf can be used as a matched pair, as the guy who designed them (he's in Sweden, they're made for him in China) tests each mic to tight specifications; any that don't meet the specs are not sold.

One caveat with these mics (well, two actually): they have a higher noise floor than competing mics from big names like Schoeps and Sennheiser, and 2) the CM3/CM4 in particular are very sensitive to handling and wind noise. Don't use outdoors without a blimp or similar protection.

Last edited by bjohn; 01-30-2022 at 11:45 AM.
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