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[Kris]

Understood JJ.  I suspect the 'few' on the internet I mentioned may in fact be the two guys that borrowed yours.  They let us know about it over at your favorite hell hole... I suppose that was the appropriate place for that kind of thing;-)  

Barry, if you want to let one go, let me know.  I had a visiting producer here last week who is drooling for one right now!

[Barry Hufker]

Thanks Kris, but I'm not eager to sell.

Bob, I bought the mics with the hope of using them for recording classical music.  I've tried different patterns and different positions but it has never worked for me in the context of this music.

As I say, they are fine mics and are a boon I'm sure to many (most -- nearly all!) but just don't work for me (at least not up to this time).  Terry told me (in jest -- I hope) "everyone has the right to be an idiot."  I know he and Oliver forgive me.  And I do plan to own more mics from these two.

As the British say, "horses for courses"...

Barry

[compasspnt]

Barry Hufker wrote on Wed, 25 August 2010 12:24

Terry told me (in jest -- I hope) "everyone has the right to be an idiot."

In jest, of course!

Actually, I have a patent pending on being an idiot™ myself!


I will add though that the majority of adopters of the CS-1 are using them daily for orchestral and other classical music. Those guys never post either.

As you say, horses for courses.

Kris, I have talked to your guy, we will find a way to sort him out...

[Kris]

Nice!  Thanks Terry.  True Cardioid was a winner on this session for both vocals and acoustic guitar... the tracks sounded absolutely fantastic.  

[J.J. Blair]

I was renting mine to somebody for scoring dates, and he was using them as his wide pair.  He loved them.

[Matt Allen]

Out of curiosity, what is the frequency response chart like of this microphone?
I did not see one on the website.

[Barry Hufker]

"In jest, of course!"

I knew!


Barry

[Oliver Archut]

Hello guys,

I am nearly done with the first 100, and as soon as I am there I take care of the frequency response specs and will publish them.
But I never like frequency plots, because they are only static and do not reveal anything, and nothing that is even related to how the mic is able to transfer complex frequency mixes.

One of the info I will share at the moment is that the true cardioid setting is identical to 251 and C12 (in true cardioid mod)but those mics do not sound the same.

On a side note, the main sound of the C12 is mainly due to the metal capsule holder, just by replacing it to a Neumann like rubber mount the flair of the mic will change....

The CS-1 is not as a technical mic as many may think, if was tuned by Terry and me just by listing.

Best regards,

[bob ebeling]

I had a feeling this ear tuning was the case.  There is nothing stiff about this mic and it changes radically in different positions and patterns.

Oliver and Terry have some complex hearing going on!  Hearing that is able to pleasantly surprise me near daily.

I also think that most of the best gear is tuned be ear and not just injected numbers from a chart.  These are the pieces of gear that escalate through time and have a life of their own.  Just the fact that The three amigos have managed to make even 100 of these in the last couple years is a large CHEERS, or that is Prost and Zum Wohl Oliver and crew!

Most gear you use once and the letdown happens instantly because you know it's going no further than that.  These mics evolve with your own creativity.  A magical thing and certainly a throwback to the 50's, 60's way of making things.

I feel blessed to know these guys and that they care so much about sound, to the point of wanting to put tools with personality into relative strangers hands.  As I've gotten a little older and past the point to write generational inspiring songs, the quality of gear has become of utmost importance to me. When those kids who have the it factor come in, I will be able to think about the music and pay attention to the one that has ADHD.  haha

[Mike O]

Oliver Archut wrote on Thu, 26 August 2010 05:00

Hello guys, I am nearly done with the first 100, and as soon as I am there I take care of the frequency response specs and will publish them.

Great news Oliver! Anxious to hear 85/86....as well as CS4 21/22. It would seem like they MIGHT be done about the same time.

[mullard]

I don't badly need a new mic for the mic locker, so I decided to wait before I can try one.
It has rather neutral and clean sound, ressembling some Brauners (what is not bad thing in my book).
IMO anyone should try it before buy, as I suspect that it might not fit all tastes.
Also, I don't like idea with learning curve with particular mic to get good results. With Korby 67, TeleUSA ELAM 251 or Wagner love happened from the first 'sight'.
I totally appreciate Oliver's work and knowledge, but don't see CS-1 as 'must have' (compared to TAB Funkenwerk pres).

[bob ebeling]

Mike O, you have the best surprise of your life coming your way.  I don't even know you but the smiles I can picture.  

[Eric H.]

Barry Hufker wrote on Wed, 25 August 2010 17:24

Bob, I bought the mics with the hope of using them for recording classical music.  I've tried different patterns and different positions but it has never worked for me in the context of this music. Barry

Barry, out of curiosity, what is your preferred main pair mic in a good room for that application?
Thanks.

This is an interesting thread about this relatively new product's different uses. For me, it is great that it behaves very evenly at distance (>1m), and does not have an incorporated proximity compensation built-in.

J.J: never having used a C12 myself, how would you describe the difference in sound between the C12 & CS-1?

[Barry Hufker]

Eric,

I'll use whatever mic gets the job done, in whatever configuration works.  Having said that, my favorite microphone for classical work is the Sonodore RCM 402.  It is a small diaphragm omni.  But I have used a wide variety of mics over the years, Brauner KHE, Neumann SM2, AKG C24, CS-1, Neumann M49, Schoeps M221B, Sennheiser (I forget the model #s), Simpson Model A and more.  While I prefer the 402s, all of these get used as needed.  The Model As are in their own class as a very revealing mic.


Barry

[compasspnt]

Eric H. wrote on Thu, 26 August 2010 11:12

...it is great that it behaves very evenly at distance (>1m), and does not have an incorporated proximity compensation built-in...

This was exactly the intention, thanks.

That may not be what some people want, but it is what I wanted.

I had enough of the other mics already.

And of course even I do not use it on EVERYTHING, that's why different types of microphones are designed and made.