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[gsherman]

Hi - Looking for advice on which stereo set of microphone might best meet my needs.

Having been using Neumann KM184 stereo set I have decided that they just aren't giving me what I'm looking for. They seem to lose a lot of warmth in the lower mids (I hear the live sound and notice the difference on monitored sound and playback). I therefore consider either the DPA 4006 or the Schoeps CMC-62H my best options.

I'm just an amateur and I can't afford to have a wide selection of microphones so need something that will have the versatility to record most types of music at most any location. For outside work I use a Pearl MS8 in a Rycott, but indoors need something better.

I'm using a Nagra LB and record mostly choirs, organ recitals and orchestras.

While I think I will either go DPA or Schoeps, I have a nagging doubt about whether I should also consider the AKG 414 stereo set. They are very versatile and I've always been very happy with AKG in the past.

Would appreciate any thoughts you can share or advice you can offer.

Thanks

Gary

[jaykadis]

I've been using a pair of 4006s for years and have never had a bad recording from them. The new 414s are decent and more flexible in polar patterns, but don't quite get the accuracy of the 4006 in the omni setting. You might find the proximity effect of the 414 directional patterns to help with the low end, though.

[gsherman]

Thanks Jay.

Appreciate you taking the time to respond.

I have read that the 4006 can sound a little toppy on some orchestra recordings but that the Schoeps have a richer (coloured?) sound.

Omni's have been top of my list as I've had best results from them in the past and most of the spaces I'm recording in are large and reverberant, such as churches.  I guess the thought with the 414 is that I have a number of options with the polar patterns as you pointed out, but I hear so many mixed reviews of these mics that they seem like a little bit of a gamble.

[Jerome Malsack]

When recording in large reverb rich rooms you might find that Omni mics in spaced pair will get to much of the room.  With directional mics coincident pair will remove some of the room.  ORTF can allow a little more room in also.  If you have more than two tracks to record you might look into what I try is ORTF or Coincident pair in two tracks and Omni spaced on another two tracks.  I put the Announcements on track 5.  Last one to consider is a room Omni mic for ambience on a single track to allow for more room on a dry track. 

Remember 3 to 1 is a big help when combining some of these signals to avoid comb filters.

[gsherman]

Some really helpful suggestions Jerome, thank you for sharing. I will certainly try these out.

Gary

[gsherman]

Just to close down on this one, I have purchased the AKG C414 XLS / ST. So far very happy with them and not too expensive.

Thanks guys for your helpful suggestions and insights.

Gary

[saltyjames]

AKG C414 XLS are excellent mics.

[blackacre]

Consider a Sanken CMS2. It’s a stereo small diaphragm condenser that is made specifically for orchestral recording and, like all Sanken mics is flat, accurate and has great off axis response. You can also use it as a close mic for stringed instruments for great results.

[Timtape]

Hi - Looking for advice on which stereo set of microphone might best meet my needs.

Having been using Neumann KM184 stereo set I have decided that they just aren't giving me what I'm looking for. They seem to lose a lot of warmth in the lower mids (I hear the live sound and notice the difference on monitored sound and playback). I therefore consider either the DPA 4006 or the Schoeps CMC-62H my best options...

The KM184's are world renowned cardioid SDC's. Yes they  gently roll off the lows, at least outside of the proximity effect area. But if you want  flatter response, a little careful EQ can work beautifully. The published data from Neumann makes that easy to achieve. If you want  flat response without EQ you may need to go to omni's and accept the trade off that involves. Best to understand the microphone types, their strengths and weaknesses. Compare apples with apples. No one mic can cover all situations.   

[tomeh]

I don't know if you purchased something yet but I can't help but wonder if you have taken a single, moderate multi-pattern mic and recorded with it in Omni, Cardioid, Hyper-Cardioid, figure eight to understand how the pattern effects the tonal balance?

Best regards,

Tom eh