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Thread: SF12 and fabulous choral group--

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    Default SF12 and fabulous choral group--

    Thought I would give you a listen of a bit of an Antioch Chamber Ensemble session that will be a CD in the next few months. Mic is a single SF12 Royer going through a Prism Orpheus. The room was bright, but the ribbon helped tame it as well as capture the resonance of the group without any sibilant crunch.

    Here's the download link (which will expire in 14 days):

    https://download.yousendit.com/YkxJUGhaTlEyWGMwTVE9PQ

    Rich
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    Rich Mays
    309 Gloucester Rd
    Savannah GA 31410
    912-484-8451
    www.sonarerecordings.com

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    Thanks Rich.

    Enjoyed that.

    I use the SF 24 frequently so it was good to hear the differences.

    I'd be interested to know your experience with placement and this mic, only because we find the SF24 to be a little different sometimes to where one might think it should work (distance, sensitivity to rotation etc).

    Cheers,

    Haigbabe
    Proud supporter of 3D as a 2012 3D VIP

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    For small choral ensemble (such as what you see) the imaging is great. Any closer and it would be exaggerated and the sides would seriously phase coherence. For 20 voices and up I use MK2 outriggers for a TOUCH of faster transient response (helpful with larger group) and better phase coherence.

    For solo voice I might use a TLM193 instead-- depends on the voice. For instruments I use it for orchestral trumpets and trombones-- I can fold in the image with impunity thanks to Blumlein and it avoids total "in your face" sound. For other ensembles it depends on too many variables to say very much.

    I have never tried the SF24 thanks to the fact that 1) it isn't any quieter 2) my SF12 is paid for!

    Rich
    Rich Mays
    309 Gloucester Rd
    Savannah GA 31410
    912-484-8451
    www.sonarerecordings.com

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    Quote Originally Posted by Rich Mays View Post
    For small choral ensemble (such as what you see) the imaging is great. Any closer and it would be exaggerated and the sides would seriously phase coherence. For 20 voices and up I use MK2 outriggers for a TOUCH of faster transient response (helpful with larger group) and better phase coherence.
    Question from someone who doesn't ever do recording like this.

    Wouldn't having condensers on the outside exaggerate consonants and sibilants at the outer edge of the stereo spread? I usually find hard consonants to be troublesome in a choir situation, especially if the choir is large or not really tight on cut offs.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

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    Quote Originally Posted by 3daudioinc View Post

    Wouldn't having condensers on the outside exaggerate consonants and sibilants at the outer edge of the stereo spread? I usually find hard consonants to be troublesome in a choir situation, especially if the choir is large or not really tight on cut offs.
    The answer to your question would be YES except for the fact that the Mk2 does not exaggerate consonants (same for the MKH20). Very much the opposite to the point where in certain rooms with certain groups I have used ONLY the Mk 2 spaced A-B only 1 or 2 feet. Having them really far down in the mix (as much as 9dB) adds a touch of "speed" and SLIGHT omni weight.

    They really are a good "blank canvas" to which EQ can be added and they can be positioned with lots of latitude.

    If you are thinking about a choir in a studio-- THAT will accentuate consonants also.

    Rich
    Rich Mays
    309 Gloucester Rd
    Savannah GA 31410
    912-484-8451
    www.sonarerecordings.com

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    Quote Originally Posted by Rich Mays View Post
    The answer to your question would be YES except for the fact that the Mk2 does not exaggerate consonants (same for the MKH20). Very much the opposite to the point where in certain rooms with certain groups I have used ONLY the Mk 2 spaced A-B only 1 or 2 feet. Having them really far down in the mix (as much as 9dB) adds a touch of "speed" and SLIGHT omni weight.


    Rich
    Funny you should say that - it's exactly what I do in this kind of setting, although I have the MK5 heads (which I set to omni for this purpose).

    Yeah, down in the mix works great - just enough to help it out but not be obvious. It's the old, "if you turned them off, then you'd notice" kind of thing.
    John Whitmer

    "They didn't want it good, they wanted it Wednesday."
    --Robert A. Heinlein

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    The Mk5 in omni has even more HF lift than the Mk2S so they need to be really down. I confess that I don't use the omni setting very often.

    Rich
    Rich Mays
    309 Gloucester Rd
    Savannah GA 31410
    912-484-8451
    www.sonarerecordings.com

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    I actually find myself rolling them it off gently at around 8K or so when I use them like this. I'm not sure, but the MK5 seems to be made for use at more of a distance than other heads.
    John Whitmer

    "They didn't want it good, they wanted it Wednesday."
    --Robert A. Heinlein

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    Rich,
    I just now stumbled upon this thread, and would really like to hear the clip of the choir you recorded with the SF-12 if at all possible. Is there any way I could get a link to that from you ?

    I'm looking to buy my first ribbon mic, and have been researching the different ones out there. I'm trying to locate choir recordings done with that mic, but have only been able to find the one demo track on the Royer website.

    If you're unable to provide that clip for some reason, maybe you could point me to some commercially available choir recordings done with that mic.

    thanks in advance.

    John

  10. #10
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    Here is another link--

    https://rcpt.yousendit.com/790930782...c7a2f5c9b7a82f

    Remember 2 things: this room is bright but the mic is not, and there really isn't much bass energy in the group itself. When doing a larger ensemble with organ and the SF12 are the mains there is no shortage of clean, non-bloated LF.

    Rich
    Rich Mays
    309 Gloucester Rd
    Savannah GA 31410
    912-484-8451
    www.sonarerecordings.com

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