Audio Examples LDC Microphone Test - Acoustic Guitars (Chandler REDD, Slate VMS Microphones)

[Squawk]

I was testing two different LDC microphones on very simple acoustic guitar picking and chords. The two microphones used are the Chandler REDD mic, and the Slate VMS microphone with the Sony C800 model, thourough the Slate 1073 preamp emulation.

This is not intended as a shootout between these two mics. It's intended to give the basic sonic signature of both microphones on two different acoustic guitars. Both microphones were aimed at the 12th fret, off axis pointed towards the guitar body, approx. 1.5 feet from the guitar.

Notes:

I normally don't use an LDC on acoustic guitar by itself (and usually not at all) so it was an interesting test for me. I wasn't particularly happy with my results on either guitar, but with a bit more experimenting with mic placement, Either would work fine.

Files were exported from Cubase, recorded at 96KHz 32 bit float. SRC was done by Cubase on export for the 48K/24 bit and 320Kbps mp3 files.

There is a small amount of room ambience applied to both performances (equal amounts). Capsules for both microphones were aligned. There were two different acoustic guitars used. A OO size, and a parlor guitar. The OO had a high pass filter on both tracks at 50Hz to cut some of the rumble.

Download the 24/48KHz and 96KHz wav files here

Mp3 Files

Acoustic Gtr Strum Test 2 File "B"

• Squawk
• Dec 10, 2017

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Acoustic Gtr Strum Test 2 File "A"

• Squawk
• Dec 10, 2017

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Acoustic Parlor Gtr Strum Test 1 File "D"

• Squawk
• Dec 10, 2017

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Acoustic Parlor Gtr Strum Test 1 File "C"

• Squawk
• Dec 10, 2017

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[Steve88]

Good comparison. What file is what mic though?

 

[Squawk]

I intentionally didn't mark the files. I thought it would be more interesting to have people comment first. Again, this is not an apples to apples comparison, and I don't want people to think that. These are different microphones, with the VMS on a Sony C800 setting. The intensity was at 150% on these particular recordings.

Overall, I honestly wasn't particularly wowed by either of these tests on acoustic, as they are not normally what I use. It's easier for me to get a more balanced sound with at least one SDC combined with an LDC, especially with larger body acoustic guitars. Both these guitars were smaller, so it wasn't quite as boomy.

I may do some more tests today and work on getting some better results if anyone would like to hear more examples.

 

[withintheflux]

Hi there. I'd love for you to PM me with the answers (I'll keep them secret). For "StrumTest_2" I much prefer A. the zippy high end on the "B" mic is far too hyped for my taste whereas"A" sounded very natural.

For the Parlor samples I preferred "D" which I presume was the same mic as "B from the "test2". On the parlor the extended high end felt nice.

I'm really not sure which mic is which. I've got a REDD coming and I expect it to be quite bright but I'm hoping its not "B" in this test, as it's not great on that guitar.

Thanks for the test.

 

[Squawk]

Thanks for your comments!

 

[Squawk]

Hi there. I'd love for you to PM me with the answers (I'll keep them secret). For "StrumTest_2" I much prefer A. the zippy high end on the "B" mic is far too hyped for my taste whereas"A" sounded very natural.

For the Parlor samples I preferred "D" which I presume was the same mic as "B from the "test2". On the parlor the extended high end felt nice.

I'm really not sure which mic is which. I've got a REDD coming and I expect it to be quite bright but I'm hoping its not "B" in this test, as it's not great on that guitar.

Thanks for the test.

I'm just wanting to wait a little bit on the results, and will post some more files. I'm going to try and get better recordings with each microphone. I also have one more acoustic to test that's a different size.

You'll be happy with your REDD when you get it. It's a fantastic microphone! Neither of the ones in this test would be my "go to" for acoustic guitar, but I think both are workable.

 

[Squawk]

Alright, one more set of files. This time with heavier strumming. I moved things around a bit and I think the results are a bit better. Same mic placement for the most part. One file is Chander REDD, one is Slate VMS C800. Post your thoughts and I'll PM you the results if anyone wants to know

AcousticOO40-P-MP3.mp3

• Squawk
• Dec 11, 2017

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AcousticOO40-Q-MP3.mp3

• Squawk
• Dec 11, 2017

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[Squawk]

Listening again, they both seem much brighter than I thought they were when listening after tracking... I haven't bothered posting wav files on these, just the MP3 files here.

 

[withintheflux]

Listening to the new on MacBook speakers:

The two tones are dramatically different. Are you processing the REDD at all? Any eq on either?

 

[withintheflux]

"P" has loads of top end. It sounds almost like cranking the air band on a Maag eq. While it's very detailed, I find it thin in a bad way. I'm also feeling like it's not very cohesive in the mids either. (noticed this especially during the hard strumming)

 

[withintheflux]

So My guess is that "Q" is the REDD. "P" is VMS. It sounds as if there is a processing placed atop it.

 

[Squawk]

No additional processing on either one, except for a high pass at 50KHz I believe, and a bit of reverb.

It's also possible that it's just a placement thing. I was angled off axis, with the microphones around the 12th fret looking down towards the body. In headphones, this sounded the most balanced, but it's possible my placement choice was thinning it out too much. I'll try another take, a bit more on axis, tame the verb, and post it.

Thanks for the feedback!

 

[withintheflux]

I don't think it's placement. As long as the 2 mics are right next to one another we get a good sense of each mic's character. My impression is that the high end on the VMS feels 'apart from' the rest of the signal. Almost like they aren't blending together cohesively. Perhaps thats why its sounding like a large boost of eq. The REDD in the samples feels more cohesive throughout the spectrum and the transients seem to have more detail.


Having said that... I was wrong on one of my guesses, so this stuff is definitely tricky.

 

[Squawk]

AcousticOO40-Y-MP3.mp3

• Squawk
• Dec 11, 2017

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AcousticOO40-T-MP3.mp3

• Squawk
• Dec 11, 2017

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Ok, here's another round! (we also need better emoji's around here!)

This time, I'm about 18" away, almost on axis, microphones pointed at around the 12th to 14th fret. No HPF this time on either track, and I dialled the reverb down a bit.

 

[withintheflux]

Y is VMS. T is REDD. My previous descriptions apply to these new files as well. Regardless of which is which, "T" sounds much better to me via a MacBook Pro. It's more modest a sound (less hyped than Y), but it's more cohesive.

Blake

 

[Squawk]

Hmm. You may be correct, or you may be incorrect! I'm happy to answer via PM.

In the meantime, here's another set of files. This time, same placement as the last two, but with a larger body guitar. It's a bit more aggressively played I noticed on listening back, but hopefully the signature of these microphones comes across on these files.

AcousticOM-09-X-MP3.mp3

• Squawk
• Dec 11, 2017

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AcousticOM-09-Z-MP3.mp3

• Squawk
• Dec 11, 2017

More info...

 

[withintheflux]

ok.. I'll bite again...

X is VMS. Thinner. Less distinct mids and transients.
Z is the REDD. More 3d. Less hyped so some might not prefer it. Much better tone, IMO.

 

[Squawk]

Hmmm. Interesting. Thanks for the comments.

 

[Squawk]

I should point out that all samples here were recorded in cardioid. The last two sets (Y,T,X,Z) had no HPF applied. Capsules were aligned, distance was the same. Recording levels were matched as close as possible. On the last 2 recordings, the REDD had drive engaged, with the preamp volume on the mic one click below max. On the other recordings, REDD preamp volume was at max.

 

[Paul G Cheeba]

I like the one that doesn't make my teeth hurt.