Not used one myself. However, to answer your question, I remember reading the Tak
tiller wrote on Thu, 26 August 2010 17:10 | Not used one myself. However, to answer your question, I remember reading the Tak
Thanks for the clarification Rich! Admittedly I hadn't really thought about it -- was just regurgitating (probably incorrectly!) something I had read some time ago.
And agreed re: Takacs. First heard/heard of them at the Aspen Music Festival and School last year where they did a few dates. We had lots of Schoeps (2H is my personal fave) to record the concert with, but unfortunately no Jecklin Disks!
Cheers, Adam
Hi Gwyn,
Try:
http://www.hyperion-records.co.uk/al.asp?al=CDA67458
We used a Jecklin disc on Christopher's wonderful recording of the Winspear L
How does the MK2S compares with the KM183? I only know the KM183, but I am not always pleased with the high frequency rise. Thanks
Eric H. wrote on Fri, 27 August 2010 05:10 | ... the KM183, but I am not always pleased with the high frequency rise.
| The Jecklin Disk needs mic's with a high frequency rise, as it "filters" out frequency content, in the higher range coming from the side, starting at about 1kHz.
The drop is quite significant, adding to the side/rear HF drop of usual omni mic's.
Therefore the Jecklin Disk works best in rooms that are on the bright side.
Regards
I believe the Schoeps MK-2S capsule was designed to be at a desirable midpoint somewhere between a free-field and diffuse-field response, lending a pleasant tonal balance within the reverberation radius.
The Neumann KM183 is a diffuse-field capsule. Simon Eadon requested Schoeps microphones with MK-2S capsules, but they were not available, so the KM183's were used. DPA 4006's were available, but not deemed favourable.
Correcting an over-bright tonal balance on a Jecklin Disc using diffuse-field omnis can be adjusted by rotating the front of the disc upward, thus aiming the microphone's axis higher.
Cheers, Ron Yachimec
Thanks guys!
I'm very grateful to everyone who's replied to this thread - now I've certainly got some recordings to check out.
When I've double-mic'd 12 to 20-piece commercial string sections in the past with both JD and MS and compared the results, FWIW my own take has always been that the MS sounds more "hypey" and dramatic, - and thus referable for a lot of pop tracks, and the JD sounds big and classy , but with not quite so much drama.
Cheers
Blas wrote on Mon, 23 August 2010 05:08 | Gwyn, I've used a self constructed jecklin disc for my 5.1 concerts over the passed 10 years and feel the use of the disc for my rear monitors are just beauiful for capturing the surround effect of the mature instruments and quality of the venue it was captured in.
I use two ADK 51TL's in omini mode with the disc and am very happy when I place them about 30 feet front the stage edge and about 15-20 feet up. You pick-up very well developed waves.
Visit my control room and let it show you how wonderful surround can be!!!
Plus you can mix it into a stereo project and make it sound stunning in depth!
Joe
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Joe, I've been fascinated with the idea of 5.1 recording ( rather than just mixing...) for ages. In order to actually do any I'm probably going to end up having to offer my services to some UK classical musicians for free. Thanks for the invite - if I ever make it to St. Louis be sure I'll be beating a path to your door! Out of interest, may I please enquire the rest of your 5.1 recording rig apart from the JD?
Best regards,
Gwyn
Rich Mays wrote on Fri, 27 August 2010 02:14 |
tiller wrote on Thu, 26 August 2010 17:10 | Not used one myself. However, to answer your question, I remember reading the Tak
Simon emailed me a description and pic-- Mk2S on a JD with a TLM170 on cello. That's all.
Rich
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