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Component Microphone Capsule (universally applicable)
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GET IT NOW !This is a tutorial on how to mic a jazz archtop guitar and amplifier to get the best possible sound. Learn professional microphone placement techniques from pro audio engineers. While the traditional ...
This is a tutorial on how to mic a jazz archtop guitar and amplifier to get the best possible sound. Learn professional microphone placement techniques from pro audio engineers. While the traditional technique involves simply placing a single microphone a guitar cabinet, our engineers, elaborate on the technique in the recording studio to produce a much more pleasing sound, more like what you would hear from a jazz guitar if you were listening to it acoustically in Using a Royer 122v (the tube version of their classic Royer 121 mic) and a Sennheiser e609 dynamic microphone on a Jazz Amp 112ER, and a Schoeps CMC6 with supercardioid MK41 (CMC641) capsule to mic the guitar. We demonstrate different mixing and panning choices to get different sounds from several different mixes of this excellent 3 mic setup on some fabulous sounding archtop guitars from Eastman, including their John Pisano model, as well as an incredibly Bill Comins acoustic archtop jazz guitar.
All capsules are available in matched pairs with official Schoeps documentation. For matched pairs multiply the cost of the microphone exactly by two and then add $40 dollars for the matching fee! The amplifier bodies are available in sequentially serial numbered pairs at no additional charge. Any Schoeps product not found on our webpage can be purchased through Sound Pure. Please call and talk to one of our staff members to inquire about the price and availability!
Frequency range: 40 Hz - 20 kHz Sensitivity: 13 mV/Pa Equivalent noise level: A-weighted: 16 dB-A CCIR: 24 dB Signal-to-noise ratio (A-weighted): 78 dB-A Maximum SPL (0.5% THD): 132 dB
supercardioid pattern very well maintained throughout the frequency range; for music and speech; high directivity, comparable to that of a short "shotgun" microphone up through midrange frequencies;
The MK 41 and the CCM 41 are strongly directional. Sound arriving from off axis is attenuated even more than with a cardioid. The pickup is ?drier? and less susceptible to acoustic feedback than any other SCHOEPS microphone type, provided that a loudspeaker is not located directly on the rear axis of the microphone.
Its directivity is highly independent of frequency, so that even sounds arriving off axis and reverberant sound are registered without coloration. Consequently, even distant placement of the microphone produces a very natural sound pickup.This is a real advantage over interference-tube ?shotgun? microphones, whose directivity is very frequency-dependent ? exceeding that of a supercardioid only at higher frequencies. Interference-tube microphones are notoriously sensitive to their position in a room, where the shifting patterns of reflections cause corresponding shifts in sound color. Thus the MK 41 and CCM 41 are surprisingly effective and space-saving alternatives to shotgun microphones ? and being small, they can often be placed closer to the sound source. (shotgun microphones)
An M/S microphone arrangement can be set up at quite some distance from the sound source if an MK 41 or CCM 41 is used for the ?M? channel.
Compared to the cardioid MK 4/ CCM 4, the supercardioid has slightly more rolloff at the low end due to the gradient effect. Its high-frequency linearity both on- and off-axis also gives it a less brilliant sound than the MK 4/ CCM 4.