R/E/P > Klaus Heyne's Mic Lab

Jecklin Disk - Favourite Classical Recordings?

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tiller:
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

Diocletian:
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

Eric H.:
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

KaiS:
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

Diocletian:
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

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