For Hi Fi enthusiasts, nothing says becoming a new man, more than following in John Atkinson's footsteps, and making your own mobile recording.
http://music.tutsplus.com/tutorials/11-of-the-best-studio-microphones-ever-how-and-when-to-use-them--audio-140
For us, there is no microphone more suitable for this, than Neumann. We've had our share of Earthworks, and keep a Blue Yeti Pro, which is rather Neumann-esque, handy, but nothing says Neumann, other than the real thing.
The Stereophile Test CD 2 was the bait that got us to leave the magazine stand, and sign up as a subscriber to Stereophile. For only a few dollars more than the cost of the CD, one could have a full year's subscription to the magazine, along with the CD itself.
Here's a DPA 4041, similar to the B&K 4006 used in the recording.
We followed in rapt attention to Stereophile's Concert recording notes, featuring a local musician of little interest, Robert Silverman. John Atkinson used a pair of B&K 4006 Omnidirectional microphones along with the EAR 824M microphone pre-amplifier. What's notable about the B&K 4006 is that it's available as a 130V phantom powered unit, and as such, has some solid specification.
Also of interest is the Rens Heijinis microphone preamplifier.
B&K Microphones, like Neumann, are legendary, and are presently available under the DPA (Danish Pro Audio) brand. The DPA HMA 5000 DPA Microphone Pre-Amplifier is the unit to look for, should you select this high-end (130V) recording option.
Those monitoring on headphones may choose the ... Headphone Pre-amplifier which also has a high-voltage specification.
Perhaps the easiest microphone to use on the Neumann road is the KU100 bin-aural head. Going in on the cheap, we've had the Sennheiser MKE 2002 substitute, rather than the original KU81, but there is no substituting the sound of a genuine Neumann "Kunstkoff" head, KU100, KU81, or the KU80, which started it to begin.
It does a respectable 20 Hz to 20 kHz recording, allowing 145 dB SPL with pre-attenuation. This will match both the human ear and the latest in DA converter capability.
Those with a penchant for fun may instead choose the Neuman USM 69i condenser, which allows for X/Y and M/S recording.
It's a monster of a microphone which will satisfy those looking to experiment safely out of the limits of their super-tweeter.
Sink in a few more $, and you'll be taking a look at the Sanken CO-100K.
For a recording device may we recommend humbly the Korg MR-2000 and the DSDx2 specification for your masters.
Sidebar 1: Stereophile Test CD 2 Track Listing Stereophile Test CD 2 STPH 004-2 Total playing time: 74:28
Warning: Because of the high peak:mean ratio of the sound of the instruments in tracks 1-4, you can easily set the playback level too high for the tracks that follow!
Music Tracks:
[1] Channel Identification 0:37
[2] Channel Phasing 0:46
[3] Acoustic Drum Solo 3:37
[4] Acoustic guitar solo 3:07
[5] Igor Stravinsky: L'Histoire du Soldat (excerpt) 0:56
[6] Sergei Prokofiev: Flute Sonata in D, Op.94, Allegro con brio 7:00
[7] Franz Schubert: Ave Maria 4:35
[8] Traditional (arr. Charlie Caranicas): St. James Infirmary 3:39
[9] J.S. Bach: Trio Sonata BWV 525, Adagio 5:13
[10] Mapping the Soundstage 1:04
[11] Brahms: Intermezzo, Op.117 No.1 in E-flat 5:24
[12] Beethoven: "Mozart's Minuet in G" 0:44
[13] Edward Elgar: The Dream of Gerontius, Part 1 (conclusion) 7:07
[14] Corey Greenberg: Eden 3:14
Signals for testing loudspeakers and rooms:
[15] Pink Noise at -20dBFS L+R (Uncorrelated from 0:42) 1:24
[16] Bass Decade (200Hz-20Hz) 1/3-octave warble tones at -20dBFS 2:47
[17] Midrange Decade (250Hz-2kHz) 1/3-octave warble tones at -20dBFS 2:32
[18] Treble Decade (2.5kHz-20kHz) 1/3-octave warble tones at -20dBFS 2:32
[19] Music Articulation Test Tone 1:19
Distortion & Jitter demonstration tracks:
[20] The Harmonic Series, 500Hz fundamental, at -10dBFS (L+R) 0:24
[21] Second harmonic distortion A/B Test (L+R) 1:42
[22] Third harmonic distortion A/B Test (L+R) 1:42
[23] Seventh harmonic distortion A/B Test (L+R) 2:12
[24] Typical amplifier distortion signatures (L+R) 0:32
[25] Harmonic & sub-harmonic distortion (L+R) 0:22
[26] Jitter demonstration track (L+R) 0:48
CD Player & Tape Recorder test tracks:
[27] Spot frequency tones at -20dBFS (L+R) 6:15
[28] De-emphasis test tones at -20dBFS, (L+R) 0:52
[29] Noise Modulation Test Tones with dither (L+R) 1:02
High Level test tracks:
[30] 19+20kHz at 0dBFS (L+R) 0:21
[31] 20kHz at 0dBFS & -20dBFS (L+R) 0:31
Warning: tracks 26, 30, and 31 contain high levels of high frequencies and must not be played at high volumes if loudspeaker damage is to be avoided.
Warning: Because of the high peak:mean ratio of the sound of the instruments in tracks 1-4, you can easily set the playback level too high for the tracks that follow!
Music Tracks:
[1] Channel Identification 0:37
[2] Channel Phasing 0:46
[3] Acoustic Drum Solo 3:37
[4] Acoustic guitar solo 3:07
[5] Igor Stravinsky: L'Histoire du Soldat (excerpt) 0:56
[6] Sergei Prokofiev: Flute Sonata in D, Op.94, Allegro con brio 7:00
[7] Franz Schubert: Ave Maria 4:35
[8] Traditional (arr. Charlie Caranicas): St. James Infirmary 3:39
[9] J.S. Bach: Trio Sonata BWV 525, Adagio 5:13
[10] Mapping the Soundstage 1:04
[11] Brahms: Intermezzo, Op.117 No.1 in E-flat 5:24
[12] Beethoven: "Mozart's Minuet in G" 0:44
[13] Edward Elgar: The Dream of Gerontius, Part 1 (conclusion) 7:07
[14] Corey Greenberg: Eden 3:14
Signals for testing loudspeakers and rooms:
[15] Pink Noise at -20dBFS L+R (Uncorrelated from 0:42) 1:24
[16] Bass Decade (200Hz-20Hz) 1/3-octave warble tones at -20dBFS 2:47
[17] Midrange Decade (250Hz-2kHz) 1/3-octave warble tones at -20dBFS 2:32
[18] Treble Decade (2.5kHz-20kHz) 1/3-octave warble tones at -20dBFS 2:32
[19] Music Articulation Test Tone 1:19
Distortion & Jitter demonstration tracks:
[20] The Harmonic Series, 500Hz fundamental, at -10dBFS (L+R) 0:24
[21] Second harmonic distortion A/B Test (L+R) 1:42
[22] Third harmonic distortion A/B Test (L+R) 1:42
[23] Seventh harmonic distortion A/B Test (L+R) 2:12
[24] Typical amplifier distortion signatures (L+R) 0:32
[25] Harmonic & sub-harmonic distortion (L+R) 0:22
[26] Jitter demonstration track (L+R) 0:48
CD Player & Tape Recorder test tracks:
[27] Spot frequency tones at -20dBFS (L+R) 6:15
[28] De-emphasis test tones at -20dBFS, (L+R) 0:52
[29] Noise Modulation Test Tones with dither (L+R) 1:02
High Level test tracks:
[30] 19+20kHz at 0dBFS (L+R) 0:21
[31] 20kHz at 0dBFS & -20dBFS (L+R) 0:31
Warning: tracks 26, 30, and 31 contain high levels of high frequencies and must not be played at high volumes if loudspeaker damage is to be avoided.
http://www.stereophile.com/reference/176/
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