From: "Kevin J. Colver" <>
>
> As far as stereo goes I've heard (and in a few cases been able to make)
> some VERY NICE recordings with the following mic set ups:
>
> Ambient stereo
> Pair of MKH 20s in SASS mount by Lang Elliott
> MKH 30 and 40 in MS by Bernie Krouse
> Crossed pair of MKH cardioids by Jonathan Storm
> Telinga Stereo DAT run through my Sound Devices preamp (I am
> reviewing some recordings I did last summer with this set up - very
> nice!)
In my case, the Portadisc does as well with the Telinga as my Sound
Devices MP2. Same case with the MKH mics. I really like the Telinga and
what I can get with it. Can't see ever going back to a mono parabolic.
> The binaural recordings are also very nice if you don't mind the
> headphones for listening enjoyment
I always like having the option of speakers, even though I use
headphones a lot and am comfortable with them. So, I stick with quasi
binaural like the SASS.
Also not all that keen on stuffing mics in my ears.
> Directional stereo
> Telinga Stereo DAT
> MKH 30 and 50 - I haven't heard much from this but imagine it's
> great
I've not managed to come up with a MKH-50 yet. But I'll toss in another,
the MKH 30/60 is a excellent combo. The MKH 60's self noise is 6dBA,
that's a full 6dBA less than the MKH-50's already very good 12dBA
rating. This provides a great deal of clarity in quieter sites. In such
situations the mics will provide clear recordings of very distant
subjects. It is somewhat directional, but can be used close as well.
Compare it to my others on the spadefoot toads in my mic sample page,
where I was on the road shoulder and the toads were in a wet zone along
the road, as close as 10', but spreading to both sides along the road.
The difference in width is in how many toads you hear. In that set the
Telinga was used from the opposite side of the road as it heard too few
toads when closer.
I also have a MKH-70, which has a self noise of 5dBA. I'll eventually
give it a try at M/S too. Still accumulating the necessary pieces.
One that fits both ambient and to some extent directional due to being
multipattern is a M/S of two MKH-80's. The difference between them and
the MKH-40 or MKH-50 is 2dBA less self noise, greater sensitivity. And,
with this pair you improve the M/S over using a MKH-30, which has a self
noise of 13dBA vs the MKH-80's 10dBA, and the MKH-30 is less sensitive.
I like the MKH-80 M/S pair a lot, in spite of it being a more bulky
setup. The same setup can be used for various coincident setups other
than M/S as well, without taking the mics out of the suspension.
> This list isn't meant to be exclusive, I invite others to share their
> experiences. These are the set ups I have heard and enjoyed so far.
Since this is looking like a wallet draining festival I should mention
one in the less expensive class that I think works well. That's the Sony
ECM-MS957, it's a all in one M/S mic with the decoder built in
switchable between two patterns. While not the low self noise of the MKH
mics it does a good job if the ambient level is not too low. I cart one
as a backup or for use in conditions I won't risk the MKH mics.
I'm sure others can come up with favorites in the lower cost line too.
For a beginner the sticker shock of that bunch above is almost enough to
send them to a less expensive hobby, like collecting lumps of gold or
something. For beginners: those mics are expensive, but they are almost
a lifetime investment, if cared for well they keep on turning out good
sound for a long, long time. So you have time to forget the huge pain of
buying them and enjoy recording with them. And you can get excellent
recordings with less expensive mics.
Walt
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