K. Margaritis 1/25/22 K. Margaritis 1/25/22

Best Type of Microphone for Recording the Classical Guitar

One of the most usual questions I get asked is which microphone is the best for capturing the classical guitar, but as with all deep questions in life, I'm afraid there is no simple answer. Our guitars, nails as well as playing techniques differ vastly. Besides, our rooms have unique properties, and of course, our tastes vary. Another decisive factor is our listening environments, but that's a subject for another day.

I've written on Classical Guitar Tones extensively about the different microphones, brands and models. If you have been here for a while, you've seen me test all sorts of microphones, entry-level to high-end. In this article, I take a step back and present my thoughts on the different types of microphones, their strengths and weaknesses. Plus some words on the different polar patterns.

On being passive

Ribbon microphones have a relatively simple design with no active circuitry and use a thin metal ribbon suspended in a magnetic field. Most ribbon designs hear sound bi-directionally and produce natural and complex recordings. They have the reputation of being fragile and need careful handling and storage.

Dynamic microphones are similar to ribbons as both capture sound by magnetic induction. In contrast, they are very robust, resistant to moisture, and have low sensitivity. In practice, they offer no real asset in classical guitar recordings as their advantages benefit mainly on-stage use and capturing of loud sources.

For the most part, I don't get along well with ribbon or dynamic microphones, mainly because of their sensitivity or lack of. I often play soft passages or employ silence in my music, and with passive microphones, one has to crank the gain on the preamps to get sufficient levels, resulting in unwanted noise. After all, the classical guitar is a soft and delicate instrument, and no matter which preamps you use, it is impossible to get noiseless classical guitar recordings with passive microphones.

Ribbon microphones are also quite forgiving to the various mechanical "non-musical" noises, such as nail and fretting sounds. And this is why some people love them, especially on harsher and louder instruments and a less subtle repertoire. But, I find the response of most but the finest ribbon microphones, principally with the thinnest ribbons (some Royer, AEA, and Samar makes come to mind), quite sluggish.

Phantom power required

Nowadays, there are a plethora of active ribbon microphones, purposed for capturing softer sources and being less dependent on the preamp choice. These tend to work better with classical guitar. Yet, even high-end active ribbon microphones are far from being noiseless. I understand that for some people noise is a nonissue, but for me, it is a distracting element. I like deep blacks and hate when the softer parts or rests are being washed away by preamp hiss.

Also, the figure-eight polar pattern found in most ribbons makes them less than ideal for many recording situations. They do work nicely as a side microphone in an M/S stereo array.

Capacitors move the (recording) world

Condenser microphones require a power source to function and generally produce a high-quality audio signal mainly due to the small mass of the capsule. They can capture on tape utmost detail, sometimes even too much of it, and are the most used transducers in recording sessions and concert halls.

Most of the classic designs have been either tube or transformer equipped condensers, but with the dominance of digital recording, transformerless solid-state condensers have increasingly gained popularity in classical recordings for their additional clarity and lower self-noise.

Size matters

Condenser microphones are categorized by the size of their diaphragm and come in two main types: small-diaphragm, like most Schoeps' and the Neumann KM184, and large-diaphragm, like the Neumann U87 and AKG C414.

So, which one is better for the classical guitar, you may ask? Not so fast. Again, the answer is not straightforward.

Let's talk first about their differences.

Small diaphragm condensers are usually more accurate, with a faster transient response and superior off-axis response. They are also smaller and lighter, so they are easier to carry, besides being visually unobtrusive. The latter is a decisive factor in why SDCs dominate the concert world.

Paying audiences generally don't enjoy seeing a stage the musicians surrounded by several dozens of microphones and bulky heavy-duty stands to support them. Neumann, Schoeps and DPA provide small-diaphragm condenser systems with every possible polar response and mounting option a classical sound engineer might on location.

Polar patterns say more than you think

The downsides of using SDC's on a classical guitar, especially at home, are only a few but nontrivial. Small-diaphragm condensers are tuned for specific roles. Directional microphones are either purposed for close spots on soloists, used in combination with a stereo array at some distance, or for the main pickup and thus are tuned to compensate for the high-end frequency loss that occurs. The result, when used inappropriately, is either a poor low-end response or hyperrealistic recordings with exaggerated high-end. In other words, they can easily sound thin and harsh.

On the other hand, SDCs with an omnidirectional response (the real microphones), especially those that have been tuned for the free field, offer an optimal response at both ends of the spectrum. Additionally, they provide greater flexibility in positioning owing to the absence of proximity side-effects but become a challenge to use in non-treated rooms that universally suffer from early reflections and standing waves.

Microphones with wide- or sub-cardioid polar characteristics come to close the gap, with a better low-end response than their cardioid cousins, some room rejection, and sometimes less pronounced high-end. Unfortunately, small-diaphragm cardioids with such polar patterns are rare, and except for the bargain Line Audio CM3 / CM4, they are always on the expensive side.

So, where does the good old large-diaphragm condenser fit?

Generally speaking, LDC's suffer from a pronounced proximity effect, transient smoothing and suboptimal off-axis colouration. In addition, they require sturdier stands, are more difficult to position due to their size and weight, and can be quite visually intrusive in videos.

All these intricacies cannot be good, right? Moreover, excellent sounding large-diaphragm condensers suitable for the classical guitar are quite rare and expensive, as most LDC's are targeted for vocal pickup.

Any advantages?

As I wrote above, noise on a recording can be distracting. The smaller the size of the capsule, the greater the self-noise of condensers. Tube and transformer-based microphones are also subject to higher noise levels. Therefore, transformerless large-diaphragm condensers have lower noise to signal ratios, with several Gefell, Austrian Audio, and Neumann models reaching nonexistent self-noise figures.

Likewise, many universal studio LDC's grant additional flexibility, as they bring multiple polar patterns, removing the need to own or carry multiple microphones or capsules on a session. With a modern microphone, like the excellent and most versatile Austrian Audio OC818, you can not only choose on the fly between any possible polar pattern, but you can also do it long after the recording has been completed.

Here is my recording of Debussy’s Prelude VIII. Recorded on location with a pair of Austrian Audio OC818s.

Let's proceed to checkout.

One can make a good recording with any decent microphone, some experimentation and post-production skills to boot. There are no excuses for bad recordings in 2022.

On a budget, neither ribbon nor large-diaphragm condenser microphones of decent quality can be found as cheaper offerings are made either for a vintage vibe or vocalists in mind. Line Audio's small-diaphragm condensers are the undenied kings of the entry-level recording setup.

When searching for a high-end classical guitar recording setup to capture a world-class guitarist with a magnificent guitar in an excellent sounding room, a pair of exceptional and well-positioned omnidirectional or somewhat directional condenser microphones is hard to beat. DPA, Gefell, Austrian Audio and several high-end Neumann condensers come to mind. In such a scenario, the size of the diaphragm is incidental. With less ideal conditions, even high-end SDC's on a solo classical guitar, be it directional or not, can expose flaws and produce unattractive recordings.

To conclude, in most situations I favour large-diaphragm condenser microphones for their inherent sound qualities and noiseless behaviour. First-class LDCs can produce a luxurious recording and provide a pleasant listening experience. I also like how they look on videos; unapologetic, proud and predominant, almost commanding. With that said, the realism that some of the best SDCs treat the listener when every element is exemplary can be breathtaking.

Perhaps it is more advantageous to bring together small- and large-diaphragm condensers in an elaborate three- or four-microphone array.

K. Margaritis 10/25/20 K. Margaritis 10/25/20

Stereo Microphone Techniques for the Classical Guitar

Stereo recording is the technique that involves two microphones that due to the captures the time differences of sound waves coming from a source, which gives depth and space to the recording. Similar to how our ears and brains record and process sound.

The Classical Guitar, albeit small, is an instrument with a complex sound and subtle peculiarities; and as such, it sounds better when is captured in stereo. Various stereo recording techniques have been developed since the early 1940s; each with distinct advantages and disadvantages.

If you ask, which is the best microphone technique for capturing the classical guitar in stereo, I'm afraid that the answer is not so simple. Room size, acoustics, the instrument, and the purpose of the recording, play a significant role; as well as our individual preferences.

In this article, I describe the most common stereo techniques from the point of you of a classical guitar recordist. I discuss their strengths and weaknesses, as well as prefered uses for each setup.

Note: This article is a work in progress; X/Y, M/S, and NOS setups will be added in the following weeks.

Spaced Pair Setups

AB Stereo

The AB Stereo recording technique is based on a pair of spaced Directional or Omnidirectional microphones and provides in a pleasing and accurate capture with useful spatial information.

For home recordings, AB Stereo is one of the best options as it is easy to implement and get a consistent sound. A pair of Cardioids is usually preferred as they can successfully attenuate the room ambience.

Omnidirectional microphones capture the true low-end of the instrument though and have no proximity effect. You can position them closer to the source in a small room, or further away if the acoustics allow.

Application

Use a (minimum) distance of 20cm between the microphones for the most natural result. You can use a greater width, as the distance from the instrument increases, for a wider capture. I prefer a width between 30 and 40cm, for small/medium rooms, and up to 60cm for large halls.

If you position the AB Setup close to the guitar, you should avoid placing any microphone opposite to the soundhole, to prevent boominess. A microphone on each side of the soundhole will give the most balanced sound, off-axis towards the fretboard for more articulation or opposite of the bridge for a fuller sound.

The microphones are most commonly parallel to each other; but, since most microphones show a degree high-end directivity, we can fine-tune their response by angling them on the horizontal plane. If you aim them slightly outwards, you can attenuate some of the unpleasing mechanical noises of the guitar (fretting noises, squeaking, nails, etc.) You can also angle them slightly inwards to reject some of the room reflections.

The directional information as captured by an AB Stereo is not as accurate as of the coincident and near-coincident setups. This attribute can be an advantage if the performer moves a lot and assists in avoiding off-balanced results. I hardly ever pan the channels hard left and right, to preserve the integrity of the central image of the classical guitar.

The biggest drawback of the AB Stereo is its leaser compatibility with MONO playback (for example, a youtube video played on a smartphone); as a result, comb-filtering may be introduced.

Suitable Polar Patterns: Omni, Cardioid

Advantages

Easy implementation
Pleasing sound
Useful spatial information
Control of room ambience

Disadvantages

Playback in MONO may introduce comb filtering
Not the most accurate directional information

And here is a real-world example of the use of AB Stereo on Classical Guitar in a professional setting. I used a pair of Austrian Audio OC818 microphones set in a Custom Polar Pattern that combines the best of Cardioid and Omni qualities. The spacing of the microphones is 26cm. The goal was to capture the pure tone of my Angela Walter guitar together with the incredible sounding main hall of the Musikbrauerei in Berlin.

Near Coincident Setups

ORTF Stereo Technique

Developed in the 1960s by the Office de Radiodiffusion Télévision Française, the ORTF is a stereo microphone configuration that with the use of two near coincident Cardioid microphones mimics the human ears.

The spacing of 17cm and 110° angle emulate respectively the distance between our ears and the shadow effect of the human head. The result is a realistic depiction of the sound field, both in directional and spatial areas, as well as a reasonable Mono compatibility.

Application

A pair of first-order Cardioid condensers is required for a proper ORTS, 17cm between the capsules and 110° angle. Other directional patterns can be used with respective changes in the width; for example, Schoeps suggests a distance of 21cm for the MK22 Open Cardioid capsules. You can also adjust slightly both the spacing and angle for the best sound.

The most critical aspect of ORTF is to balance the direct and diffuse sounds, as there is not much you can do in post-production afterwards. As always a minimum distance of 50cm is advised to avoid boominess, but I have had better results with a distance of 80cm to 110cm. At greater distances, a low-end boost might be required to compensate for the loss of low-end of directional microphones.

The ORTF main application is for large-scale sources, like orchestras and choirs. If positioned in a close distance, you might experience loss of focus with a perceived hole in the centre.

Consequently, depending on the room acoustics, the ORTF stereo array may be proved problematic in a home recording setting. As you might either have to place the microphones further away from the instrument, capturing the unattractive ambience of a small room, or suffer a smeary sound if you position the array closer.

Suitable Polar Patterns: Cardioid

Advantages

Realistic stereo field
Reasonable Mono compatibility

Disadvantages

Perceived Hole in the middle and loss of focus if positioned close to the source

Coda

Distance

The distance of the microphones to the source depends purely on the room size, the instrument, and the setup. As a rule of thumb, keep it smaller than that of the microphones to the front and side-walls. But never closer than 50cm.

Directional microphones have a sweet spot where the proximity effect eliminates, and the low-end frequency response becomes linear. If the microphones are not in the ideal position, you might need to apply a Low-Shelf EQ (boost or cut). Omnidirectional microphones have a better low-end response regardless of the distance but capture sound from all directions. So, be careful not to end up with an overly roomy recording.

Height

Most classical guitarists angle their guitars somewhat upwards to push the sound further back (and fill a concert hall). Correspondingly, the height of the microphones depends mainly on the distance to the guitar. The closer they are to the instrument the lower they need to be. If you place the microphones further away from the guitar, they need to be higher to retain definition and accuracy.

The sound travels as an impulse rather than a beam though, so there is some room for experimentation. If you prefer a fuller sound, you can position the microphones slightly lower. Contrarily, you can increase the clarity if you put the microphones higher. Use your ears and taste.

Vertical Angle

You can also exploit microphone angles in the vertical plane; you can increase clarity if they are on-axis with the top of the guitar, or aim them at a higher point to attenuate some of the high-end and undesired mechanical noises from the strings and nails.

About the Samples

I recorded all the examples with a pair of Austrian Audio OC818. I choose the OC818 for their clear sound, low self-noise, and multi-pattern options. The height of the microphones was 103cm (centre of the capsule), and the distance from the guitar was 90cm.

The signal chain was an AEA TRP2 Microphone Preamp into an RME ADI-2 Pro FS ADDA Converter.

I didn't provide samples in other distances as they would only give cues about my room and instrument, without adding value to you.

Closing thoughts

Recording the classical guitar is a meticulous exercise. Regardless, if you want to record your next album, a video for youtube, or your performances to share with your friends, it is an utterly satisfying process. It is also a reason to practice harder and become a better guitarist.

Before your press "rec" for the first take, allow some time to find the best position, height, and angle. It can be a matter of having an excellent recording or rendering the whole session useless. Small changes in this context may have dramatic results; they act as a physical equalizer.

There have been quite a few times that I had to re-record a performance because of a poor decision, or having to rely on heavy equalization to make it acceptable when it was (almost) impossible (or expensive) to record again at the same location.

I hope that this guide will be helpful in your recording adventures in the quest of capturing the best qualities of your instrument and room.

K. Margaritis 9/18/20 K. Margaritis 9/18/20

A Three-Microphone Setup for Recording Classical Guitar

An M/S Stereo alternative.

Classical Guitar is a complex and rich sounding instrument; as such, it sounds better when is recorded with at least two microphones. A statement that you must have read several times already if you hang out at this site. Some engineers argue though that guitar is a relatively small instrument which tends to sound too "wide" when recorded with the most conventional stereo techniques; thus sounding unrealistic in playback.

Neumann TLM 193 and TLM 170 in M/S Stereo Configuration

Mid/Side stereo, which I discuss in my Three M/S Stereo Setups for the Classical Guitar article, is usually praised for its truthful representation of the classical guitar. The elimination of phasing problems and the flexibility it offers during mixing are additional important advantages, however, it is not immune to potential issues. Namely, the collapse of the room information in mono reproduction, and the inability to hear the resulted-combined sound without some processing to the channels (or the use of an M/S matrix). Lastly, symmetrical Figure-8 microphones, required for the "Side" channels, with a balanced response are generally expensive.

Alternatively, the combination of a "Mono" microphone placed at close-proximity and a "Stereo Pair" at some distance, shares some similar advantages without the drawbacks of M/S Stereo. Hence the Three-Microphone Setup is an appropriate option for capturing the subtleties of the classical guitar.

Purpose in position

Austrian Audio OC18 - A Large Diaphragm Cardioid Condenser

The "Mono" microphone is positioned close to the instrument (at about 50cm, although some could go as close as 30cm) to capture a full-bodied sound. I recommend a large-diaphragm condenser with a smooth treble response for this position; as not only it will capture the fullest sound, but the slower transient response of the large capsule will also give a less analytic, more relaxed response.

The "Stereo Pair" is placed a little further away to capture the sound of the room. A pair of small-diaphragm condensers is ideal here due to the better off-axis response and can be either Omni or Cardioid patterns depending on the acoustics. The actual distance depends mainly on the room; accordingly, as the distance increases, the height of the microphones should be increased as well. The distant pair brings to the mix crucial depth, space and some high-end articulation.

Decisions; Player vs Audience

Another way to see the three-microphone setup is as a fine compromise between the intimacy of what the player hears and the somewhat distant experience of an audience member.

During mixing, the three channels can be balanced to the desired sound; from close to distant and everything in between. Either the "mono" or the "stereo pair" can be used as the base sound. Think about a mono capture with some extra space or a distant pair with added fulness.

Examples

For the first recording, I used a Neumann TLM 193 relatively close to the guitar, and a wide pair of DPA 4011As as room microphones.

In isolation, neither the Mono signal nor the AB pair sounds particularly great. The first is somewhat plain and too direct, while body and weight are missing from the AB pair. When mixing all three microphones, the combined sound gets defined and three-dimensional; thus more real.

I made another example of the same setup and the exact same distances, this time with an Austrian Audio OC818 in Cardioid for the Mono duties. The AB pair is still the DPA 4011A. If you have read my Austrian Audio OC818 review, you already know that I love their sound, and I wanted to hear how well they can mix with the DPA microphones.

Combining M/S and Room Microphones

A few months ago, I also experimented with combining an M/S pair of Neumann TLM 193 and AEA N8 up close and a stereo pair of Austrian Audio OC818s at some distance, you can hear the result in this recording of Bach's Cello Prelude no.2.

Some things to take care of

If you want to try the Three-microphone setup, it is important to listen to the recording as a whole before committing to any microphone position. The Mono microphone may be judged alone if you plan to use for the main sound, but don't make bold decisions without listening to the combined audio.

Potential phasing nightmares is one of the biggest drawbacks of this setup, so take extra care to eliminate any issue and check with a proper phase meter plugin regularly (read my article on the Three Most Essential Plugins for Classical Guitar).

Lastly, although the recording should be evaluated as a whole, the close and distant setups might need to be EQed separately. Nevertheless, you may apply a catholic EQ with basic filters and sculpturing.

Cheaper Alternatives

Line Audio CM3 - A budget SDC with an surprisingly good sound

Apart from the aforementioned combinations, any microphone could do a decent job. If you just starting and your budget is limited, buy the best large-diaphragm condenser you can afford and a pair of cheaper small-diaphragm condensers, like the Line Audio CM3/CM4 (read my comparison of the Line Audio CM3 and DPA 4011A).

Final thoughts

I've seen mostly AB, XY, ORTF and sometimes M/S setups explored by engineers and home recordists for the classical guitar. All of which can produce excellent recordings given the right circumstances. Yet, I find that with more elaborate techniques I can capture the instrument, at home or on location, with exceptional precision, without any disadvantages. Except maybe for needing more input channels, cables, stands, and more time for the setup.

A Three-Microphone setup can shine in a very wet hall, as it allows us to capture the body and definition of the instrument while including as much ambience as desired. In a home recording of the classical guitar, it offers great flexibility, if not to provide ambience, it combines the intimacy and fullness of a close pick-up with some extra depth provided by the spaced pair.

So, what do you think? Have you tried a three-microphone setup? Which microphones have you used?

Neumann Berlin

DPA Microphones

K. Margaritis 9/15/20 K. Margaritis 9/15/20

6 Common Mistakes When Recording the Classical Guitar at Home

Part I - The room and the microphones

You just bought a couple of microphones and want to start recording your classical guitar at home; share your recordings with your friends, archive your performances, or start your career as a professional guitarist or recordist. Additionally, recording yourself will force you to look straight into your flaws, thus improving you as a player.

These past few months, I have received quite a few emails and taught several Skype sessions with the focus on recording classical guitars. There are a few mistakes that seem to be common, mistakes that we all do when we first start recording.

In this article, I discuss some of the flubs of the beginner recordist that have to do mainly with the microphones and the room.

You can also read the 6 Common Mistakes When Recording Classical Guitar at Home, Part II article, where I discuss about utilizing a proper signal chain and achieving satisfactory results in post-processing.

Mistake no.1 - Not spending enough time to study the room

Julian Bream - A Life on the Road (Book, 1982)

Every room is different, and If I had to take something out of the brilliant Julian Bream’s book "A Life on the Road" is how essential is to take the extra time to find the spot of where the guitar sounds the best in the room you are; the position in the room and the angle towards the sides are some of the things to consider.

Of course, Julian Bream mainly talks about performances, but the same logic applies to the recording aspect as well. The best sounding spot in the room will allow you to play more comfortably, thus you might sculpture a nicer sound of your guitar; and depending on the microphone technique you use, added ambience or the elimination of unwanted reflections will have an enormous impact on the final recording.

Usually, most of us sit where it is convenient and don't think much about positioning the microphones, as long as they are not in the way. Some others, they like symmetry and will position themselves or the microphones in the middle of a square or rectangular room; the worst sounding spot in a room like this, introducing a plethora of problems that are impossible to remove.

So, try a few different positions, angle the guitar towards one of the sidewalls, maybe sit a little closer to the back wall, to give some space and allow the guitar to project properly. Better yet, ask someone else to play the guitar, ask them to try a few different positions and observe how it affects the sound. Use your ears as if they were the microphones.

Mistake no.2 - Placing the microphones too far away from the guitar

Norbert' Kraft’s distant miking with a spaced pair of Neumann microphones

If you have ever watched any Naxos videos, you must have noticed Norbert Kraft's distant and wide miking. Similar techniques can be seen any many famous recordings. Getting influenced by professional recordists can be inspiring, but also equally misleading as the source material is very different. Techniques that can be excellent in a church, large halls, or even a well-treated studio never apply to the smaller room reality of the home recordist.

By following such techniques you might end up placing the microphone(s) closer to the front wall than the guitar. Even when the microphone(s) are close to equal in distance, it is possible to end up with an overly diffused and roomy sound; as a result, the sound of the small room will be forever embedded in your recording. Getting too wide will also be a problem if the room is not wide enough. Also, the guitar is a small instrument and rarely benefits from a very wide pick up. Therefore, try moving the microphones closer to the guitar but not too close.

Mistake no.3 - Placing the microphones too close to the guitar

Pat Metheny - nylon string recording; don’t try this at home!

After failing with the "church-technique", many of us want to get rid of the small room sound altogether, we have amazing reverb plugins anyway, and start positioning the microphone(s) very close to the guitar, I mean really close. To a similar erroneously path can arrive those with an acoustic guitar background or those who have witnessed some terrible close-miking examples in even famous recordings.

The problem is actually... threefold:

Firstly, by placing the microphones too close, finger and other mechanical noises will creep in, resulting in an annoying and unattractive recording. You may start cutting high frequencies to remove some of those artefacts but sooner or later you'll end up with an immensely dull recording.

Then, most of us usually start with directional microphones, those exhibit a pronounced low-end frequency response due to the proximity effect. One can balance the unwanted boost with careful EQ-ing, but beginner recordists won't have the skills for that. The low-frequency boost combined with the need to cut high-end information will produce an unbalanced imitation of a classical guitar.

Furthermore, the classical guitar is a complex instrument; every part of the top projects different frequencies that they all combine at some point to create a cohesive and rich sound. Normally this point is around the length of the soundboard, about 50cm, that should be the limit of how close you can get with the microphone(s): Greater distance is preferable if the room allows, but, never record classical guitar closer than 50cm.

Remember, classical guitar needs space!

Mistake no.4 - Not experimenting with microphone height, angle and techniques

Placing the microphone(s) at the height of the guitar is a decent place to start, but as microphone height and angle influences so much the overall character of the recording, ignoring other possibilities will frustrate you as you will have to fight with post-processing to get the desired result. It is preferable to spend the extra time and set up the microphone(s) correctly.

Normally, as classical guitarists learn to project their sound slightly upwards, the further away you place the microphone(s), the higher they should be positioned. And, by allowing the microphone(s) to face a bit downwards, so to be on-axis with the guitar, you can achieve a realistic and full-range recording with great definition. This technique will capture what is usually called the "audience perspective".

Spaced AB Pair of Austrian Audio OC818 at 103cm height that point slightly downward

If you notice that the guitar, guitarist or microphones to sound a little sharp, you can angle the microphones slightly off-axis to reach a smoother treble response.

In the case of spaced pairs, it is not uncommon to point the microphones somewhat outwards so that they are not parallel to each other. But in a small room, and at greater distances, additional room reflections will soak into the recording. Thus, I've found that is more desirable to point the microphones slightly inwards or a little higher to achieve a mildly off-axis response but with less "room" in the recording.

For those who pursue an intimate and fuller sound, with a tame high-end and less room, what is called the "player's perspective"; miking the guitar a little closer and with the microphone(s) lower is a good place to start. Avoid placing any microphone opposite of the soundhole, otherwise, the recording will become boomy. For an even fuller sound, place the microphone(s) lower yet, and point them upwards.

The discussion about miking techniques is a complicated one and deserves its own article(s), but until I write it, these ideas should get you a bit more involved.

Mistake no.5 - Not checking for phase problems in stereo recordings

The 2CAudio Vector plugin includes a phase meter and its free!

The classical guitar should be recorded in stereo. Either a pair of spaced condensers or one of the several other stereo setups will do. Except for the coincident microphone techniques, like M/S Stereo and X/Y, any technique that involves two or more spaced microphones, can potentially become a phase nightmare.

Phasing has a noticeable influence on the sound quality of your recording, as due to cancellations and comb filtering it can potentially leave your recorded guitar sound thin and weak. Be sure to check for phasing problems with a proper plugin (I use the 2CAudio Vector, it has a phase meter, plus some other welcome features and its free), adjust the microphones until you minimize phase - everything higher than 80% on the meter is acceptable. You can still compensate for phasing during mixing, but it’s always better to take care of it beforehand.

Mistake no.6 - Thinking that more expensive microphones or preamps will fix all problems

Shopping for new microphones, interfaces and other toys... I mean tools... is fun; a big chunk of writings on this site is about reviewing and comparing recording equipment. But, at this age, pretty decent recordings can be made with a reasonable budget. So blaming the gear is only an excuse for not willing to go the hard way.

Refrigerator racks with outboard equipment can be fun, but we can do a lot with a couple of decent microphones and an audio interface

I'm not arguing that equipment doesn't matter; it does. It just not going to substitute for bad microphone positioning, an unsuitable room or not refined guitar technique. Contrary, more accurate and detailed microphones will accentuate any of the problems that are present.

Learning how to use what you've got, experiment with various microphone techniques and positions; take steps to adjust your room for a better sound. And why not, maybe spend some time practising and try to be well-rehearsed before you press the record button. These are some basic actions to take that can drastically improve your recordings in a meaningful way.

Closing thoughts

Mistakes are part of the learning process; don't be afraid to make them, and don't hesitate to experiment. After all, recording is a journey, and the process of trying things can be a valuable lesson in becoming a more accomplished recordist.

I hope that this article might encourage you to try out different microphone positions, learn and improve your room. Optimistically, the information provided here will guide you to make better recordings.

K. Margaritis 8/21/20 K. Margaritis 8/21/20

Austrian Audio OC18 Cardioid and OC818 Multipattern Condenser Microphones Review

Elegant and revolutionary; A modern classic.

Some of my all-time favourite recordings have been made with the AKG C12 (or it stereo counterpart C24), I always adored its distinctly refined sound and musical articulation. Unfortunately, these are quite rare and extremely expensive microphones, so acquiring one is out of the question.

Austrian Audio, formed by ex-AKG employees, promises to carry the much-desired sound of the classic AKG microphones to the 21st century, with outstanding engineering, forward-thinking features and a competitive price. Based around the new handmade ceramic capsule CKR12, and 100% manufactured in Vienna, the large-diaphragm multipattern condenser OC818 and its sibling, the fixed-cardioid OC18, create high expectations.

Brass-ring capsule issues

The brass-ring CK12 capsule, originally designed for the C12 and early C414 microphones, offers an excellent frequency response with even characteristics on- and off-axis but was so labour intensive and inconsistent that AKG dropped its production and moved on to a simpler design more than 40 years ago. Numerous successors have been presented, and as with all sought-after microphones, a lot of clones have tried to recreate the magic of the famous capsule. But, in the hearts of the audio engineers, the original C12s and C414s, when in good condition, are still the best sounding.

Austrian Audio measured some of the best sounding CK12 capsules available to model the CKR12 which is at the heart of every OC18 and OC818 microphone. The new capsule is ceramic and is made by hand, this design should have a similar response but with greater consistency and durability.

Classy looks

The microphones themselves look rather classy and somewhat understated with a body made of a single piece of zinc-aluminium alloy, finish and craftsmanship are impeccable. The OC818 is silver, while the OC18 is black and lacks the polar pattern selector switch and the second output on the back, but is otherwise identical. The silver finish of the OC818 looks slightly more elegant, but with one drawback; the lettering on the switches is a little to see under certain lighting conditions.

Polar pattern selector, filters and pads on the OC818.

There are 40Hz and 80Hz high-pass filters at 12dB/octave available to control low-end rumble as well as a gentler 6dB/octave at 160Hz to compensate for proximity effect. Carefully chosen high pass filters on microphones and preamps are appreciated here as it is preferable to cut unwanted frequencies before they hit the digital realm. When recording classical guitar, I pretty much have the 40Hz filter engaged at all times.

The sensitivity of 13mV/Pa is respectable, making the choice of preamp less critical. Both the OC18 and OC818 worked flawlessly with the preamps of an RME Babyface Pro FS and my AEA TRP2 external preamps. Both microphones also incorporate -10dB and -20dB pads to protect the internal electronics from very loud sources, which is never a problem with classical guitar, so I haven't tried them. On the other hand, the self-noise of 9dB-A is superb for capturing the subtle plucking sound of nylon strings, especially for very dynamic playing styles.

Dual-output capabilities

A Mini-XLR gives a separate output from the rear capsule of the OC818.

A distinctive feature of the OC818 is the ability to record the two capsules separately and blend them later during mixing with the PolarDesigner plugin to craft the perfect polar pattern. Read my post regarding the PolarDesigner plugin here. Or use the OCR8 Bluetooth dongle and choose between 255 discrete polar patterns in realtime. Unfortunately, I wasn't provided with the OCR8 to test that feature, but the PolarDesigner plugin has been excellent.

Finally, a new plugin developed by Austrian Audio called AmbiCreator makes possible the recording of ambisonic B-format signal with two OC818 microphones. I haven't tried that yet, but I like that the team of Austrian Audio is restless.

Accessories

A pair of OC818s and a single OC18 in the aluminium case.

Austrian Audio was kind enough to send me a pair of OC818s and one OC18 for testing, the microphones arrived in a compact aluminium case which is excellent for storing and transferring them. Wooden cases can sometimes be more luxurious, but an aluminium case is lighter and much more practical. I was also provided with shock-mounts and simple plastic clip mounts. The shock-mounts are compact enough and seem to work well. Saying that, I would like to see them design a more elegant mount as an alternative to match the sophistication of the microphones.

So, how do they sound?

I first tried the microphones with the Cardioid pattern and my usual wide AB setup. The OC818s captured the articulate character of my spruce/brazilian rosewood classical guitar in abundance. Paired with my AEA TRP2 preamps and RME ADI-2 Pro FS converters, the OC818 pair delivers a gorgeous rich sound with excellent clarity. The tone is bright and defined but in a smooth way, not peaky or harsh neither hyper-realistic.

Austrian Audio OC818 in Cardioid & OC18 - Frequency Response and Polar Pattern

When tested against the Neumann TLM 193, an honest and natural microphone, it becomes apparent that the Neumann is somewhat subdued on the high-mids. And while both microphones can produce a beautiful recording, I prefer the more detailed sound of the OC18 and OC818. I've been using the Neumann TLM 193 for years so their somewhat laid back nature is not new to me, and therefore I usually chose to pair it with a brighter mic, like the TLM 102/103 for instance, to bring back some articulation.

I also tried the OC18 against the Neumann TLM 102, a microphone that I always liked for its natural response, I found that in comparison the Austrian Audio offers a richer midrange with more fluent top-end and defined low-end, thus making the Neumann sound a little hollow in the mids. Arguably, the OC18 is the better microphone, and not much more expensive.

Another microphone I had available for testing is the Gefell UMT70s, a multipattern large-diaphragm condenser built around the famous Georg Neumann M7 capsule and with the finest engineering. It appears to me though that the Cardioid and Figure-8 patterns of the UMT70s were voiced for close miking, and found them to be less desirable for solo classical guitar which benefits from more distant miking. I would imagine that up-close, the Gefell would produce juicy recordings for popular musical styles.

Austrian Audio OC818 in Omni - Frequency Response and Polar Pattern

Both the Gefell and Austrian Audio microphones sounded outstanding in Omni, albeit with a different character. The OC818 produce a more natural, true-to-life recording of the guitar in the room with even response across all frequencies and a fuller low-end, the frequency response graph shows a slightly more pronounced high-end with more gentle high-mids. The Gefell UMT70s in Omni imposes a smooth and creamy sound; juicy and delicious, but not nearly as accurate. Honestly, if I only needed an Omni microphone, I would be happy with either. The OC818 costs less though and sounds consistently excellent in all patterns.

A universal studio microphone

Austrian Audio OC818 in Hypercardioid - Frequency Response and Polar Pattern

I then switched to the Hypercardioid pattern and a slightly more distant set-up. The tighter pattern leaves most of the room out of the recording and the extra distance lets the guitar breath more freely. There is a little less body to the guitar sound but mids and highs are captured in detail and elegance; for challenging rooms, one or two OC818s in Hypercardioid would be the best choice.

For placing the classical guitar inside a denser mix, the tight pattern, and the absence of room ambience of the Hypercardioid pattern offer a vital asset. My instinct when laying down the guitar part for an Elusive Aura recording last July was to use the Omni pattern of the OC818. I couldn’t get the mix right though; the room sound pushed the classical guitar in the background, and in the low strings were fighting with the two cellos. I decided to re-record my part with the Hypercardioid pattern and voila! The classical guitar part almost mixed itself.

Finally, I tried a pair of OC818s in an M/S setup with a Cardioid Mid microphone, read my Three M/S Setups for Classical Guitar post. The truly symmetrical Figure-eight pattern and the full low-end extension should make the Austrian Audio microphones excellent in that application. After processing the Side microphone and balancing the levels, the result is a very realistic image of the guitar with a solid centre image and a polished sheen. My room, even though it's not large, it has a pleasant sound for acoustic instruments due to non-parallel walls, high ceiling, wooden floor and moderate treatment. I can imagine that the OC818s in M/S would sound impressive in a large hall or church.

Austrian Audio OC818 in Figure-eight - Frequency Response and Polar Pattern

Ambience duties

In this Bach's Cello Prelude recording, I used a distant pair of OC818s in Cardioid to pick up the room together with the Neumann TLM 193 and AEA N8 in M/S Stereo placed in the direct field. I think that the Austrian Audio captured the ambience admirably and provided the recording with detail and clarity. In that scenario, the laid back character of the Neumann and AEA combo complements perfectly the brilliance of the Austrian Audio pair.

OC18 vs OC818

I believe it is a smart move for Austrian Audio to release the fixed-cardioid OC18, as many don't need the extra patterns and can save a few hundred euros. According to Austrian Audio, the tolerances of the CKR12 capsules are so tight that any OC18 and OC818 will perfectly match and can be even used as a stereo pair. But, given how much more versatile the OC818 is, costing only (at least for the time) a few hundred more, it is difficult to recommend the fixed-cardioid version.

Conclusions

Austrian Audio are the rightful heirs to the CK12 design tradition, it doesn't surprise me in the least that they developed a new microphone that sounds so alluring. Contrary to a lot of large-diaphragm condensers that either produce a fake sense of clarity with over-pronounced high-end or a smeared response, the Austrian Audio microphones capture ample detail; yet they manage to remain smooth, never harsh or sharp.

With low self-noise, exciting yet clear sound and dual output, the OC818 has become my favourite large-diaphragm condenser for recording the classical guitar. I used the pair of OC818s in Omni for the recordings of my latest classical guitar suites "A Quiet Place" pt. I and II, and with a custom polar pattern on “Baltik Winter”.

Coda A - Apples vs Oranges

I compared the OC818 with DPA's 4006A and 4011A small-diaphragm condensers. The DPA could be my favourite sounding microphones for classical guitar; their truthfulness is unsurpassable but they suffer from a relatively high self-noise, especially the 4011A. The omni 4006A has an impressive 40 mV/Pa sensitivity and is less noisy.

This may seem like comparing apples and oranges due to the different design, but the DPA microphones are the epitome of clarity, definition and precision and I wanted to see how the Austrian Audio microphones compare. Both DPA capsules offer an almost brutally honest pick-up, with breathtaking realism; like “being there in the room”. To my surprise, the OC818 set in Omni and Cardioid respectively comes quite close; maybe not as realistic and precise, but a touch more musical and seductive in exchange.

The OC818 is a large-diaphragm condenser and might not be best suited as the main pair for orchestral recordings. On the other hand, for small ensembles and solo instruments, the noiseless operation and extra musicality can be favourable.

Coda B - Perfect for the Cello

My friend and great cellist Natasha Jaffe came over to my studio one day and we tried one OC818 in front of her Cello. We immediately loved the expressive and balanced sound the microphone captured, the Neumann TLM 193 seemed a little dull in comparison. We tried a couple of different positions to make sure that no microphone had an advantage, the results were consistent across all tests. Natasha decided to buy an OC818 for her own productions, as she felt that the sound of the Austrian Audio was "finished" and “ready”.

Coda C - Recording Debussy

Here another is a real-world example of the use of AB Stereo on Classical Guitar in a professional setting. I used a pair of Austrian Audio OC818 microphones set in a Custom Polar Pattern that combines the best of Cardioid and Omni qualities. The spacing of the microphones is 26cm. The goal was to capture the pure tone of my Angela Walter guitar together with the incredible sounding main hall of the Musikbrauerei in Berlin.

Austrian Audio

K. Margaritis 5/22/20 K. Margaritis 5/22/20

Soyuz 013 Series FET Review

An original handmade small-diaphragm condenser microphone in a see of clones

Soyuz is a relatively new company or alliance as the name (союз) suggests. Founded in 2013, they aspire to create "modern classics" by combining Western design with Russian manufacturing. In this time, they have released three distinct microphones, with an emphasis on bringing together Russian and German traditions into a unique amalgam.

They sent me a pair of their Series 013 small-diaphragm condensers with cardioid capsules to test them with my classical guitar.

From Russia with Love

When opening the cardboard box, I found a small envelope containing among warranty notices and stickers printed frequency plots for each capsule. But to my surprise, there is an even smaller envelope with three signed cards of the people (with pictures) who are responsible for the machining, assembly and quality control or my set. This extent of the attention to detail and that of the customer experience indicates how much love and thought they put into their products. I have to admit, it's been a long time since the last time I've been treated so nicely while opening a new product.

The 013 FET microphones themselves come in a high-quality and elegant wooden box, to keep the mics and accessories safe for storage and travelling for location recordings. It took me a minute to figure out how to open it, as the lid is held by a pair of powerful magnets on the inside. As a result, it takes some effort to open, but the benefit is that it is impossible to open accidentally.

The glossy cream finish matches nicely with the polished brass capsule

Evidence of their unique take on aesthetics is that not only the microphone preamps but also the mount clips and pads are all painted in a matching glossy cream finish, while the capsules feature a lacquered polished brass. The combination may be somewhat flashy, especially in the context a modern video production that requires making the microphones invisible, but I think that they look quite beautiful. There is an option for a black-matte finish for those who prefer something more indistinct.

Interchangeable capsules add to the value and versatility, and Soyuz provides Cardioid, Omni and Hyper-cardioid capsules for the Series 013 body. The three capsules have more or less similar frequency response, but I only had the chance to test the Cardioid capsules.

A Flattering Accuracy

Soyuz 013 Fet Cardioid Frequency Response

Although the 013 FET are handsome, the real test is how well they can capture my classical guitar. Looking at the frequency graphs, I expect relatively linear response, with subtly lean low-end and some colouration due to the transformers.

After positioning the microphones in a narrow AB setup and engaging +48v phantom power on my AEA TRP2, the first thing I noticed was how much output the microphones offer, making the choice of microphone preamps less trivial. The self-noise of the microphones at 16 dB (a-weighted) is relatively high for dynamic playing styles, but to their advantage, the high output will let them pair with any decent preamps nicely.

Listening to the recordings, the sound signature of the 013 FET is quite natural but with a thick and creamy tone. In comparison to linear microphones like Schoeps or DPA offerings that have a clean and detailed presentation, the Soyuz microphones add depth and weight to the recording but without losing definition or emphasising any specific frequency. The result is a flattering sound with a dose of healthy vintage nostalgia.

The diamond-shape logo might be a slight hint

Compared to the Neumann KM184s, which tend to be sharpish on-axis especially when positioned close to the source, the 013 FET present a gentle flavour with their non-strident character, thus a better choice for classical guitarists. Additionally, the tight cardioid polar pattern makes them ideal for use in the small-room reality of the home studio.

The top-end remains smooth and doesn't show any harshness at all, the mid-range is warm and detailed with a wonderful, almost 3D, quality. There is a good amount of proximity boost happening once the microphones get closer to the source, balancing the slight slope of the 013 in the low end, therefore the microphones need some care in positioning to achieve a perfect balance.

Against the Grain

In a market full of clones and vintage reproductions, Soyuz comes with an original design that perfectly blends the classic sound of the past with the needs of the modern producer. The 013 Series microphones offer a familiar tone, with the much-desired colour and character, and plenty of clarity. Lastly, the reasonable price for a quality handcrafted pair of microphones makes it easy to recommend for those who seek a pair of excellent small-cardioid microphones.

Soyuz Microphones

Digital Audio Service

K. Margaritis 3/8/20 K. Margaritis 3/8/20

AEA N8 and KU5A Ribbon Microphones on a Classical Guitar

Ribbon microphones have a very long history, invented in the early 1920s by Telefunken in Germany, and have been used in countless historical recordings of all genres. An ultra-thin ridged aluminium (usually but not only) ribbon is placed between the poles of a magnet that translates vibrations (sound) to voltage.

Recordings made with Ribbon microphones sound very natural, have a full low-end, smooth mids and attenuated highs. They are never over-analytic if anything, they offer a relaxed presentation, making them excellent for instruments which mechanical sounds, like fretting or bowing, can be distracting. Furthermore, their pure characteristics and the bi-polar pattern generate a feeling of "being there" in the room with the musicians.

Ribbon microphones can be quite fragile and require a lot of attention even on how you store them; additionally, being passive they need a lot of very clean gain from the preamps otherwise the can appear noisy, especially with soft instruments and dynamic styles. The advances in HiFi recordings and playback systems, and their inherent downsides pushed Ribbon microphones out of fashion for several decades.

The last decades the trend seems to have shifted, at least partially. Musicians and engineers lust for the added warmth that Ribbon microphones exhibit naturally, and digital environments sometimes lack. For more than 20 years, AEA has dedicated its resources in developing and manufacturing high-quality Ribbon microphones that enable the listener to experience recordings as if he is in the same room with the musicians, and with the recent products, they hope to eliminate some of the inherent issues of this technology.

Nuvo N8 - Active Ribbon with an Extended Top-end

Derived from the very well received and fantastic R88, the N8 is a mono version of the former with an added active circuit, meaning that it requires +48 phantom power to function and in exchange, it provides a higher output, making it less dependent on the preamp, and subsequently delivering cleaner recordings. The AEA TRP2 stereo preamp that I use, is specially designed for the AEA Ribbon microphones, and with its extremely clean hi-gain performance and high-impedance, it should deliver stunning recordings.

AEA designed the N8 to be used as in far-field applications, thus making it a better match for acoustic and classical recordings. And in contrast to vintage ribbon microphones, which can sometimes sound dark and murky, the N8, and the R88, capture plenty of high-end and present a controlled low-end.

Unfortunately, KMR Audio (AEA's European distributor) couldn't provide me with a pair to test some of the stereo arrays, like Blumlein or M/S Blumlein that Figure-8 Microphones excel, but I'm excited nevertheless.

KU5A - A Super-Cardioid Ribbon

The KU5A is a rather unique design in the world of Ribbon microphones, as not many non-bipolar Ribbons exist, and even less Super-Cardioid. The bi-directionality of most Ribbon microphones can sometimes be more of a burden than a blessing when used in smaller-unattractive sounding rooms. The KUA5 is a front address Super-Cardioid, that eliminates the room and presents the ribbon smoothness and warmth in all its glory, with the benefit of a detailed, extended top.

A high-pass filter of 6dB per Octave at 283Hz makes the AEA Super-Cardioid suitable for close-miking any instrument and the transformer-based, active electronics allow it to function perfectly with any decent preamplifier.

The attributes of the KUA5 make it a perfect choice for concert applications, both for amplifying the classical guitar along with recording purposes. Notably, if you play in an ensemble, The Super-Cardioid pattern will minimise the bleed from other instruments into your amplified sound. Ribbon microphones are also more forgiving than condensers, which can be a huge advantage in live recordings.

Lastly, A common issue with live acoustic recordings is that the Audience can sometimes be as loud as the instruments, the KUA5 will make sure that less of these distractions will find their way to your recordings.

Other Things

AEA attaches the cables to the microphone on some of their products, and the KU5A is one of them, I'm not sure what to feel about this "feature" as it is nice to have, but makes the transportation awkward. The microphone itself is very well made, the built-it yoke is very sturdy and makes positioning very easy, and the is shipped in a very durable flight case. For concerts or location work, the flight case is undesirably big for the sole reason that it has to have space for the long cable.

The N8 is shipped with a durable plastic case which is very convenient for location recordings and for storing the microphone, a shock-like fabric cover to protect the microphone from dust, and a rubber mount that takes the place of a more regular spider mount and takes care of the low-end rumble and vibrations. The small size and weight of the N8 is also worth noting, as well as the standard XLR output, granting easy transportation and effortless positioning.

Conclusions

With active electronics for fewer noise-related headaches and an extended top-end, AEA carries the natural and calm presentation of vintage ribbon microphones to the demands of a modern workflow. Both the N8 and KU5A are excellent ribbon microphones that share the same DNA and are designed for particular situations.

If you want to remove the "room" from your recordings, the KU5A will do just that. While the N8, or better yer a pair of N8s in Blumlein, will put the listener directly into the hall that the performance takes place. Either way, a gorgeous sounding recording is guaranteed.

AEA Microphones

K. Margaritis 2/28/20 K. Margaritis 2/28/20

DPA 4011A vs Schoeps CMC6 MK22

Other than various Neumann microphones, the most used small-diaphragm condensers in classical concert halls and recordings are made by DPA and Schoeps. The philosophies behind their designs are quite distinctive, as are the usual descriptions of the family sound of each brand. Arguably though, they are more similar than different, as they both belong in the relatively uncoloured realm. But the big question remains; which microphone is better for recording the classical guitar.

To try and answer that question, for my needs and tastes, I had to get demo units of their cardioid microphones.

A Cardioid and an Open-Cardioid

The 4011A is a staple performer for many acoustic/classical instruments when a directional pick-up is required, Schoeps also offers a few different cardioid capsules with their Colette system suitable for a variety of uses. The MK22, which I chose for this shootout, is an open-cardioid. Schoeps describes its characteristics as a combination of the natural low-end of an Omni pattern with the benefit of cardioid directionality. In essence, it is a little wider than their standard cardioid capsule, MK4, and offers a marginally finer bass response.

Comparing the Polar Pattern plots of these microphones, I realised that the MK22 is closer to the characteristics of the 4011A than the MK4, making the decision easier, and this comparison quite logical.

It has nothing to do with sound

This might be a little unfair to Schoeps, but it's not my fault. DPA arranged for me to have for reviewing the 3511A Stereo Kit; a high-quality aluminium case which except for a matched pair of microphones, includes a lot of premium accessories, like their high-quality microphone mounting clips, shock mounts and a long stereo boom. All made with the highest standards and can be convenient in the field.

From Schoeps, all I got was a pair of CMC6 bodies with the MK22 capsules. I know that ultimately the sound is what matters most, and I that can be evaluated without any extra accessories. But getting familiar with the DPA system, elevated my experience.

Another observation that doesn’t have to do with sound is that the NEXTEL finish of the CMC6 preamps and capsules is quite fragile, I thought I could scratch them, just by looking at them. In comparison, the 4011A have a more solid feel and seem more durable.

Setting up

As per my usual recording techniques for the microphone duels, I placed each pair at an AB configuration, with 36cm distance between them, 96cm from the ground and around 70cm from the top of my spruce guitar.

By listening to the samples, it is evident that both microphone pairs provide a solid performance. I would be totally satisfied with either, but there are some differences.

Unambiguous precision

The 4011As have a unique way to draw an utterly accurate and almost holographic image of the classical guitar, without any sign of harshness or hardness that is not a product of the performance. The sustaining notes, ring longer and the complex harmonies are captured clearer, like if they are taken apart.

Without sacrificing detail, the MK22 capsules portray an euphonic result. They are fast and analytic, but yet with a smooth and musical character; as if the performance is treated with a touch of kindness.

Au contraire, the DPA microphones will represent with unambiguous precision all the nuances and subtleties of a world-class instrumentalist and a high-grade luthier guitar; exposing likewise any flaws on a player's technique or the instrument. Their honesty can be brutal and overwhelming in some cases. If the source is good, they are going to reveal it; if not, forget about using them.

The Schoeps's offer a gentle depiction of the performance by applying a veil of wizardry and charming sweetness. However with the DPAs, it is like looking at the recording through a magnifying glass.

Noise concerns

My only gripe with the 4011A is the high self-noise. At 18dB-A the noise is not excessive and in most cases not even noticeable, but it can be bothersome for distant miking with softer instruments, or very dynamic musical styles.

The MK22 with 13dB-A of self-noise is almost as silent as my Neumann TLM 193 which have a remarkable 10dB-A of self-noise performance. In reality, most rooms are noisier than any of these mics.

Back to the original question

Honestly, I cannot say which microphone is better; probably neither is. The Schoeps have a sound, as the DPAs and ideally, I would love to own sets of both. In isolation, both pairs should sound stunning, if not, the problem is certainly not on the chosen pair of microphones.

When I'm not directly comparing and analysing them so closely, I believe that their differences are not as pronounced. Saying that, after hearing to my playing and guitar(s) with the 4011As (and 4006As which DPA also sent me), it is difficult to accept anything less realistic.

DPA Microphones

Schoeps

K. Margaritis 2/21/20 K. Margaritis 2/21/20

Three M/S Setups for Classical Guitar

Capturing the natural room sound of the guitar.

The Mid/Side microphone technique has almost a century of history. Developed by Alan Blumlein in the early 1930s, it became popular in the broadcast studios because of its compatibility with mono. Even in the recording studio, it appears to have many advantages over the most commonly used stereo techniques.

With small instruments like the guitar, it is easy to capture a too wide of an image, resulting in an unrealistic and often a blurry reproduction, especially with ORTF and AB techniques.

The "Mid" microphone of M/S provides a solid capture of the instrument, while the "Side" microphone is responsible for picking up the ambience of the room. The right balance of the two microphones allows for a truthful image of the guitar realistically placed in the sound field.

The M/S technique gives you the most control over the stereo spread, but the best part is that you don't have to commit to any balance until the mixdown, as you can always change the balance long time after the recording is finished.

Things to consider

As the "Mid" microphone is responsible for capturing the actual sound of the guitar, it is essential to take the time and make sure that it's placement is optimal. Otherwise, there is not a lot you can do to fix it. Also, if the room ambience is not pleasant there is not a lot you could do to improve it, so you are better off with a close AB technique and using artificial reverb in your DAW during mixing.

Here is one of several M/S setups that I've tried this week. I placed the "Mid" microphone at a distance of 55cm from the top of the guitar, aiming at the midpoint from the bridge and hole. With the capsule being at 96cm high, slightly angled downwards, placing it on-axis with the angle the I hold my classical guitar.

The "Side" microphone with a Figure-8 pattern was simply placed on top of the other at 90 degrees, aligning the capsules as close together as possible, minimizing phase issues. The whole setup was angled slightly to the sidewalls of my room. The room is medium-sized, with a wooden floor, high ceiling and a few interesting angles on the wall, making it relatively live-sounding.

Austrian Audio OC818 in M/S Setup

In this first example, I used an Austrian Audio OC818 pair with the "Mid" microphone was set to cardioid. The response of the Austrian Audio microphones is fairly natural, especially at the low and mid registers. A slight boost is present at the higher frequencies, but it retains the very smooth character of the classic ceramic capsule, making the classical guitar recording to sound polished and vivacious, without any sign of harshness.

Gefell UMT70s in M/S Setup

The second example utilises a Gefell UMT70s pair, these mics have a unique appearance, an incredibly small grill and an unquestionably satisfying feeling to the touch, the craftsmanship is second to none. The UMT70s shows a distinct bright character with slightly recessed lows in its cardioid pattern. The Gefell microphones offer coloured pickup but maintain a smooth quality. In a way, this combination produces a somewhat more finished recording, with nostalgic charm, it reminded me of some Julian Bream albums. The result is pleasing but differs from the sound that I hear when I play my guitar, in my room.

Neumann TLM193 and AEA N8 in M/S Setup

An often overlooked aspect of the M/S microphone technique is that it doesn't require a matched pair of microphones. So for the last test, I decided to combine the Neumann TLM 193 with a ribbon microphone for "Side" duties, in this case, an AEA N8.

The TLM 193 has a natural pickup, with good low-end extension, flat mids and unhyped high-end. The most gratifying aspect of the Neumann is that it captures all the nuances of the classical guitar without emphasising any frequency. Additionally, it is dead silent which enhances dynamic playing styles as it allows the notes to fade to complete silence.

The AEA N8 offers an extended high-end in comparison to more traditional ribbons and a very juicy low end. This combination in an M/S setup produces a bigger soundstage and a sound that is reminiscing of the what I hear when I play.

Conclusions

All three setups can produce high-quality recordings, although the perspectives of their designs are different. I'm used to the Neumann sound, and I gravitate towards that, together with the N8 I think they produce the purest and calmest recording, but with the expense of some definition and the higher noise floor of the ribbon. The Austrian Audio microphones are the most versatile and they take EQ well. They are detailed, without sounding overly analytical, and offer an elegant and smooth sounding result. The Gefell combo sounds like an excellent record from perhaps a different era, but if you love that sound, it is impossible to get it with the other microphones.

Coda

The M/S Stereo technique has the potential to create outstanding recordings, captures a full-bodied and defined sound while eliminating phasing issues. Larger halls and resonant spaces are where it excels as it allows us to concentrate on the recording and fine-tune the balance of ambience and close sound during mixing.

Austrian Audio

Neumann Berlin

Microtech Gefell

K. Margaritis 2/20/20 K. Margaritis 2/20/20

Austrian Audio OC818 and the PolarDesigner plugin

What if you could set-up the microphones, record your classical guitar and configure the best polar pattern your room after the recording is finished?

Polar pattern selection on large-diaphragm condensers is not a new thing, a few microphones intergrade continuously variable selectors that allow in-between pattern selection, or allow the two capsules to be recorded in separate tracks. Austrian Audio expands the possibilities with the PolarDesigner plugin.

The most important feature of the plugin is that it enables us to craft the perfect polar pattern responses across up to five crossover bands, at any time after the recording is finished. To make the plugin even more useful, Austrian Audio has packed a lot more into the PolarDesigner to perfectly fine-tune your sound.

Usual suspects

I decided to try it first on an M/S setup, I used the two output method only on the Mid microphone, I positioned it at 96cm high and around 60cm from the top of my classical guitar with a slight downward angle so that it is on-axis with the spruce top. I placed the second OC818 on top of the first in Figure-8 pattern.

Basic sounds

With the Side mic muted, I concentrated on the Mid mic for a while.

The unprocessed track, with each capsule recorded at a different track, is unusable without the PolarDesigner plugin, but that was expected.

First, I wanted to see how the basic patterns would behave. So, I enable the plugin, as well as some lean low-cut and high-cut filters.

Tweaking the patterns

After playing around with the controls for some time, I found that the Omni pattern assigned to the lower frequencies gives a beautiful body sound to my guitar. Cardioid and Wide-Cardioid patterns were chosen for the mids, to bring tones of the guitar in focus. And for the highs, I used more of a Wide-Cardioid pattern to add some room ambience.

I also used the free-field equalization preset, which I'm not exactly sure what the underneath processing is, but gave more depth and definition to the overall sound. I boosted the lows a little with the proximity control bar.

And finally, I added the Mid channels to the mix and balanced all three to get a natural room sound.

Conclusions

As you can see, the possibilities are endless, and you only have to position the microphones once, record a couple of takes and then figure out the perfect polar response during mixing.

Additionally, on remote location recording, lugging up monitors to accurately check that the microphones are placed in the most desirable position can be quite unattractive. Headphones, on the other hand, are never the best option to judge stereo spread and overall tonal balance. The PolarDesigner plugin allows for fine-tuning to take place with the speakers and room you know and trust at your mixing room.

Click here for the full review of both the Austrian Audio OC818.

PolarPilot App

Austrian Audio designed an App that allows for real-time wireless control over the analogue bias voltages of the OC818, allocating 255 discrete polar patterns for us to choose. Plus access to high-pass, and pad in realtime via Bluetooth. Unfortunately, they didn't send me the OCR8 Bluetooth dongle that is required for this to work, so I couldn't test it out.

The judgement day

The plugin allows uses some sort of AI that determines what is important and not and provides a spill terminator or maximize target algorithm which should in principle reduce unwanted spill from other instruments But, I didn't get to use.

Austrian Audio

K. Margaritis 2/15/20 K. Margaritis 2/15/20

DPA 4011A vs Line Audio CM3

Line Audio is a relatively unknown Sweedish company, or rather a one-man shop, dedicated to manufacturing high-quality, unhyped microphones and linear pre-amplifiers. They have been in this business for more than 30 years, and by cutting the middle man, no advertising and minimizing cost on all the not essential elements, they offer their products at the most affordable prices.

DPA, on the other hand, is one of the leading names in the classical recording world. Many recording engineers, producers and musicians sing praises for their clarity and honest presentation. The microphones, as well as the accessories that accompany them, are as premium as it gets. But, performance comes at a cost.

In this duel, I wanted to see if the CM3 cardioid condenser stands any chance against the 4011A at a less than a tenth of its price. In other words, could someone with a limited budget still manage to get a decent recording?

Setting Up

I positioned the microphones at a small AB setup with 36cm between each microphone, at 96cm high and 55cm distance from the top of the guitar. At this distance, the microphones can capture the true sound of the guitar, and with their cardioid pattern, reject most of the room acoustics.

DPA 4011A Frequency Response and Polar Pattern

Line Audio CM3 Frequency Response and Polar Pattern

The details matter

Listening to the recordings, the DPA microphones have breathtaking clarity and detail at every frequency. They demonstrate a better resolution and capture a holographic image of the classical guitar, with more realism and depth. The 4011A are brutally honest microphones, but if you are recording a luthier grade guitar and a great guitar player in a beautiful sounding room, you want it all on tape.

The CM3s surprisingly (or not, if like me you have used them for a while) sound very close to the DPA. They are a little more plain sounding, with less resolution and depth, in comparison it feels feel like something is missing from the image. They are also less sensitive and can benefit a lot from a good preamp, but peculiarly they were only slightly noisier than the 4011A in these recordings.

Line Audio’s basic but very portable case.

A distinct approach

The Line Audio CM3s come at a very minimal package, shipped in a simple plastic box, with a basic plastic microphone holder and a decent windscreen. They are so inexpensive, so there is nothing to complain there really. They are also light and small enough, almost as small as an XLR adaptor, that I'm not hesitant to carry a pair even my jacket's pockets.

DPA sent me for test their premium stereo set, that comes with a luxury case and all the accessories you might ever need. The craftsmanship is impressive, everything feels finely processed with all the pieces machined out of solid aluminium. The full assembly looks stunning. Their stereo bar, while relatively expensive, is the best I've ever used.

DPA 4011A Stereo Set, all the accessories you’ll ever need.

Single 4011A or a more basic stereo set up is available, they come with only the essential accessories in a hardshell nylon case. This case is also of premium quality and judging by my experience with the d:vote 4099g (you can read my review here), I prefer this kind of case to wooden cases that come with most higher-priced microphones. As you cannot carry them easily for location recording because of weight and size. This is true especially for small-diaphragm condensers, which might see more commute than larger studio microphones.

For different use cases

In conclusion, the 4011A is the better microphone of the two in every aspect. Taking us a step closer to capturing the classical guitar in all it's nuance. Also, if you charge for your recording services, showing up with the DPA set will reassure your clients for the extent of quality you are committed to.

If you are on a limited budget, or just want to record yourself for non-commercial uses, the Line Audio microphones are the best-kept secret of the recording world. The CM3s can capture classical guitar with realism and honesty and are so inexpensive, you can buy a few.

In conclusion, the 4011A is the better microphone of the two in every aspect. The engineering and the accessories are unparalleled in quality, not to mention the sheer detail and sound quality that they capture. Taking us a step closer to capturing the classical guitar in all it's nuance. Also, if you charge for your recording services, showing up with the DPA set will reassure your clients for the extent of quality you are committed to.

But, if you are on a limited budget, or just want to record yourself for non-commercial uses, don't shy away from the Line Audio microphones, as in my experience it is hard to find any other small-diaphragm condenser microphone with such natural characteristics at this price range or even many times more expensive. The CM3s can capture classical guitar with realism and honesty and are so inexpensive, you can buy a few.

DPA Microphones

Line Audio Design

K. Margaritis 2/7/20 K. Margaritis 2/7/20

Austrian Audio OC 818 vs DPA 4011A Stereo Pairs

DPA is a high-end microphone company and needs no introduction, they have been around for around 30 years (their capsule design begins somewhere around 1950 with their first measuring microphones) and their microphones have been used on countless recording sessions in the finest concert halls in the world. The 4011A is a small-diaphragm cardioid condenser, praised by engineers and musicians for its sheer accuracy and extremely low distortion.

Austrian Audio might be a new name, but the people behind it have a combined experience of over 350 years in audio engineering, or that's what their marketing team suggests. The OC818 is their first creation, a multipattern large-diaphragm condenser microphone built around a hand made ceramic capsule, made to the same critical dimensions as the classic CK12.

Apples and Oranges

Although this test might seem to compare apples and oranges, as one is a small-diaphragm condenser with a fixed cardioid polar pattern and the other is a multipattern large-diaphragm condenser, the objectives are quite clear.

Slower transient details, colouration and the ability for a lower self-noise floor are well-documented attributes of a larger capsule, while greater linearity and accuracy are closely associated with a smaller one.

When recording a top grade, luthier classical guitar, we wish to immortalise every detail. And thus, for the last decades, the use of small-diaphragm condenser microphones have prevailed. Most of the iconic recordings that defined the sound of the classical guitar have been made with the large-diaphragm condenser and ribbon microphones though. Many of the Julian Bream recordings, for example, have been made with AKG's stereo C24.

Neutrality might not always be desirable.

4011A-ddicate-4011A-Cardioid-Microphone-polar-pattern.jpg

Austrian Audio OC818 Cardioid Frequency Resposne and Polar Pattern

The act and art of recording allow for the development of personal aesthetic, as every choice would have an impact on how the recording will be interpreted and appreciated.

Following this path I want to investigate further if the colouration that is usually a characteristic of large-diaphragm condenser microphones, can sometimes be desirable when recording classical guitar.

And furthermore, try to answer the question if a single multi-pattern microphone, with all the versatility that it bears, could replace or subtitute for a collection of dedicated microphones in classical guitar recording.

Details

The recordings were done in AB stereo with a 32cm distance between each microphone, I placed each 4011A and OC818 microphones side by side, as I figured that this will bring the capsules closer together. The microphones were on axis with my guitar, at 88cm high and around 50-55cm from the spruce top. The recordings are dry with no EQ, reverb or other processing anywhere.

High-quality 320kbps mp3 streams:

If you’d like to listen to uncompressed wav files, just send me an email.

Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.

Disclaimer: Austrian Audio and DPA sent me the microphones for reviewing without any precondition or obligation to write positively about them. This is an honest presentation, driven by a genuine interest and desire to create a classical guitar microphone database.

DPA Microphones

Austrian Audio

K. Margaritis 2/2/20 K. Margaritis 2/2/20

Austrian Audio OC18 on a Classical Guitar

Austrian Audio sent me a stereo pair of their OC818 and OC18 microphones for reviewing, so the first thing I did was to put them up against my Neumann microphones and see how they perform.

For those of you who are not familiar with Austrian Audio, here is a little back story. When AKG offices in Vienna got closed, some of its former employees join forces and set out to create something new, true to the Viennese microphone manufacturing heritage. In July 2017, Austrian Audio was officially born.

Handmade CKR12 ceramic capsule

With their new CKR12 ceramic capsule as the centre point, Austrian Audio released their first two microphones last year. The multipattern large-diaphragm condenser OC818, and it's cardioid only version OC18 for those who don't need the extra patterns. Both are priced very competitively, considering their quality and that they are 100% made in Austria.

In a see of clones

In a see of vintage "inspired" microphones that have flooded the market the last decade, I find very refreshing that Austrian Audio, instead of releasing "clones" of the AKGs acclaimed C12 and 414 microphones, they worked two years in the development of new microphones and technologies. In other words, they were paying 22 employees for two years with nothing on the shelves to sell.

Austrian Audio OC18 vs Neumann TLM 193

Austrian Audio OC 18 Frequency Response and Polar Pattern.

Austrian Audio OC18 and Neumann TLM 193.

In the last couple of years, the TLM193 is the microphone I've been using for my classical guitar recordings. Needless to say, I know exactly how it sounds with my guitars, and I appreciate its pure and honest character. Although I would never record in mono for any professional use, I think it is interesting to find out how a single OC18 compares at half the price of the Neumann, cardioid to cardioid.

I set them up, one on top of the other, around 55cm away from the top of my spruce top guitar, and opposite to the bride, leaning a little towards the soundhole. For the test, I used AEA TRP2 preamps and RME ADI-2 Pro FS converters.

High-quality 320kbps mp3 streams:

Austrian Audio OC18 vs Neumann TLM 102

Neumann's budget TLM 102 has always been one of my favourite large-diaphragm condenser microphones for the price with its relatively low-noise electronics, small size and smooth natural capture. Considering that the OC18 is at a similar price, I wanted to see how it stands in comparison.

I set them up similarly with the TLM 102 sitting upside down on top of the OC18.

High-quality 320kbps mp3 streams:

For those who have experience with the TLM 193 or TLM 170, it should be easy to guess, which mic is which. Between the TLM 102 and OC18 it should be a little harder.

If you’d like to listen to uncompressed wav files, just send me an email.

Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.

Austrian Audio

Neumann Berlin

K. Margaritis 12/28/19 K. Margaritis 12/28/19

Line Audio CM3 on a Classical Guitar

The Swedish Line Audio CM3 microphones are the best-kept secret of the audio world, not only they sound great capturing the nuance and timbre of acoustic sources in the most natural way, but they are incredibly cheap and small!

No affiliation whatsoever, I just like them a lot!

Initial Review

Roger is the one and only person involved in the design and manufacturing of the Line Audio products, and he has been making high-quality microphones and preamps at a low price for decades; all handcrafted in Sweeden.

It is impossible to find other microphones that come close to the quality of the CM3s, both in craftsmanship and sound properties, without spending several €100s more. They are balanced across all frequencies and offer a smooth and clear pick-up, without annoying frequency boosts that certainly don't compliment a sensitive and delicate instrument such as the classical guitar.

Roger is building these microphones himself, and doesn't advertise at all; this is the reason why he can keep the prices so low, and why you don't hear so much about them.

Trevelling with the CM3s

On March 2018 I travelled to Lithuania for a month, I was commissioned to compose a solo guitar suite (to be released in March 2020). So the two tiny CM3s, in their practical plastic cases; although unnecessary for the purpose of my work there, were proven to be great tools to have.

My only regret is that I didn't get to record in this beautiful church, but with -28 degrees Celcius, maybe it was a good decision.

Here are two of the pieces that I recorded there, pluged into an Audient iD14 (read my review). The CM3s, togheter with the iD14 make a compeling and affortable pair for travelling guitarists.

Closing Thoughts

After owning a pair for about two years now, having recorded my guitar, cello, solo piano, a piano trio with violin and flute, as well as several voices and a choir; I can honestly say that I can comfortably use them in any situation. I recommend them without hesitation to beginner and intermediate recordists with a sane budget.

My only complaint would be that you need to pair them with a decent preamp as they are not very sensitive. When I compare them with Schoeps, DPA or Neumann microphone that cost 10X more, I find that they are a little less detailed especially in high-mids and highs. But, for the price, or even for microphones that cost less than €1000 a pair, I haven't found anything that comes close for recording acoustic and classical music.

Line Audio Design

K. Margaritis 12/20/19 K. Margaritis 12/20/19

DPA d:vote 4099g Microphone Review

Studio sound for the stage

Danish Pro Audio is acclaimed for manufacturing high-end condenser microphones for acoustic and classical music. The DPA d:vote 4099 is a super-cardioid condenser microphone aimed to bring a high-quality capture on the stage.

Good things come in small packages

The microphone with its accessories is packed in a neat hard-shell canvas case that is pretty light but offers enough protection, making it excellent for the life on the road. Included is a 1,8m MicroDot cable, an XLR adapter and an instrument mount. I have the 4099g which comes with the guitar mount, DPA offers a plethora of options to suit any instrument.

A 140mm gooseneck holds the miniature 4099 capsule and allows for satisfactory positioning. DPA offers a 180mm extension gooseneck, for even more precise placement and the ability to move the microphone further away from the instrument. A brilliant add-on for the studio or a relatively quiet stage, as the extra distance allows the microphone to capture more of the instrument's surface.

The condenser element is covered by a foam windscreen. Although its very light and compact, it seems super-rugged; except for the detachable cable which gives the impression that is very delicate. Maybe it is my paranoia, but I tend to be extra careful with it when I'm on stage, and you will never catch me out without a backup. Saying that I never had a problem so far.

Hearing the tones

I have used extensively the 4099g on my classical guitar for chamber concerts, usually placing the microphone over the 15th fret and aiming slightly toward the soundhole. Depending on the room, I will adjust further to find the sweet spot. The sound is always balanced and detailed, the DPA delivers a natural and full-bodied representation of my instrument.

With a careful speaker/monitor placement, the DPA can take quite some gain before it starts to feedback. Definitely, enough to compete with a grand piano, string/wind instruments and percussion. The super-cardioid pattern helps in rejecting other instruments and noise, but it's not immune to feedback issues.

A positive aspect of having a microphone mounted on the instrument is that even if I move a bit, the sound always stays the same. Additionally, it unclutters the stage from the various stands.

In the studio, the DPA is not the most qualified performer, the miniature capsule exhibits more self-noise than what is satisfactory. I wouldn't hesitate to use it if I had no other option, but I would choose another mount though for more options in placement.

Flat frequency response on-axis, with a slight presence boost for added clarity.

Essential for all instrumentalists

Liliputian proportions, exceptional sonic quality and excellent craftsmanship, establish the DPA 4099 as a great investment for any instrumentalist. It frees us from the stand prison while rejecting unwanted sounds and still manages to deliver accurate and refined sound.

Cons

Slightly noisy
The cable is too thin (maybe)

Pros

Balanced and detailed sound
Rejection of unwanted instruments/sounds
Easy to attach-remove
Keeps a constant distance from the instrument on stage

DPA Microphones

K. Margaritis 12/15/19 K. Margaritis 12/15/19

Neumann TLM 102 Microphone Review

The Neumann TLM 102 is a small, elegant and affordable condenser microphone with an open character, a silky high-end, low self-noise and a distortion-free operation.

A true Neumann for the project studio.

The Neumann TLM 102 is a small, elegant, and affordable condenser microphone with an open character, a silky high-end, low self-noise and distortion-free operation.

Inspection

The TLM 102 is a large-diaphragm, transformerless capacitor microphone with a fixed-cardioid polar pattern. The lack of pad and filters implies a bare-bones design, allowing Neumann to bring the costs down without compromising on the sound.

A relatively small and edge-terminated diaphragm puts it towards the more natural Neumann microphones, and with an SPL tolerance of 144 dB, the TLM 102 is a foolproof candidate for capturing gracefully almost everything.

Neumann badge indicates the front side of the microphone.

It has a classic Neumann design available in a black or nickel matte finish. I have the nickel mic and I find it very stylish, the black one looks just as beautiful. The microphone is engineered to perfection, the chrome ring below the basket and red Neumann badge, give it a classy retro-industrial look. With a tiny size and a weight of approximately 210g, placement is a child's play.

The TLM 102 ships in a foam-lined cardboard box (another cost-cutting move from Neumann), a departure from the usual luxurious wooden box, but it securely fits snug the microphone and stand-mount or shock-mount. The box is sufficient for storage, but I wouldn't use it for travelling.

The frequency range of the TLM102 is flat up to 6kHz, where a slight presence boost kicks in. This adds a touch of brilliance without ever sounding harsh or shrill. It has a relatively low input noise of 12dBA and a moderate sensitivity, allowing it to capture with blooming detail even nuanced delicate instruments.

A high-pass filter could have been useful, as the microphone is sensitive even to the very low frequencies. Engaging one on the preamp or DAW can be sufficient though.

Flat frequency response with a slight presence boost for silky highs.

Investigation

On a classical guitar with the mic opposite of the bridge, leaning slightly inwards towards the sound-hole, and at the distance of around 50 cm. The TLM 102 sounds glorious, with full-bodied lows and mids, and a pleasing high-end, with no sign of harshness. The slight high-end boost contributes to an added clarity, but unlike many budget condensers, it doesn't emphasize unwanted mechanical sounds of playing the guitar.

Newly designed shock-mount with a cut for closer positioning.

I tried the TLM 102 on a brilliant cellist, another instrument that is quite difficult to record convincingly. The tiny Neumann retained its well-behaved nature and clear capture.

On female voices, the proximity boost in the low-mids together with the relatively natural highs of the TLM 102, bring a smoky, almost old-fashioned character. When used on male voices, the microphone provides a thick and rich timbre that allows. The TLM 102 can complement a variety of voices, it always retains its rich and full personality.

Diagnosis

After owing a TLM 102 for a few years, one trait remains consistent, this microphone exhibits a strikingly clear-sounding capture but shows enough temper to complement most sources. A pretty desirable attribute, especially for the project studio, as many home recordists will probably use one microphone to record almost everything.

Alternative

At the same price, the Miktek C1 offers a similar natural character with a silky high-end. The Neumann TLM 107 is an excellent alternative if you don't mind spending more, as it offers a similarly natural and smooth capture, with even less self-noise, and added versatility with its 5 polar patterns.

Pros

Full and rich character
Silky highs
Price
Size and weight

Cons

No High-pass filter
Cardboard box

Neumann Berlin

K. Margaritis 12/1/19 K. Margaritis 12/1/19

Apogee MiC+ on a Classical Guitar

Apogee´s new USB microphone promises improved sound quality and lower noise floor from its predecessors.

I wanted to buy a USB microphone for some time now but the ones that I have tried in the past didn't convince me. USB microphones are usually guilty of high self-noise that can be quite problematic when recording such a subtle instrument as the classical guitar. Additionally, since they are mainly aiming for voice-overs, vocal recordings, podcast and such activities, they are usually quite bright for my tastes.

The new MiC+ is definitely an improvement over the older versions. The self-noise is audible in comparison to my normal setup but I don't find it to be a problem for non-commercial uses. It is also a little bit on the bright side, but natural enough for use with a classical guitar and other acoustic instruments.

It seems very well made and I believe it can take some beating, but don't forget it is a sensitive condenser capsule in there, so don’t drop it.

Apogee includes in the package everything you need to start recording right away; desktop tripod, microphone stand adaptor and USB Type A, USB Type C and Lightning cable. My only gripe is that the supplied cables are rather short, connecting the MiC to a Desktop or Laptop computer will be proven a challenge.

Comparisons

My next task was to see how the MiC+ compares with several different options; alternatives that have clear-cut strengths and definite uses, but I consider them to fall into a similar budget. From a tiny portable recorder (Olympus LS-P2), to a budget SDC (Line Audio CM3), to a higher priced LDC (Neumann TLM102).

Olympus LS-P2
+ the cheapest, the smallest, doesn't require any additional gear, it is stereo
- most self noise, although its mids are sweet-sounding, the sound is somewhat narrow and small

Apogee MiC+
+ affordable, comes with everything you need and it only requires a phone/tablet or computer to work, a decent headphone output
- noisier that the CM3 or TLM102, much brighter, feels cheaper

Line Audio CM3 (read my review)
+ smooth and natural sound, no colour, small, cheap, comes with plastic case
- needs decent preamps to avoid added noise, not very detailed, needs an audio interface/cable/stand (additional cost)

Neumann TLM102 (read my review)
+ clear and defined sound, nice articulation, a little bit of colour but never harsh, practically noiseless
- needs an audio interface/cable/stand (additional cost), big (actually it is very-very small for a LDC, but for the sake of this comparison), expensive

Conclusions

All in all, it is a great mini microphone and although it is not meant to replace a discrete signal chain with high end microphones, preamps and converters, having access to such equipment when I'm on the road is not usually an option and the MiC+ comes to fill the gap as it sounds better than most portable recorders and it fits in the pocket of my jacket.