Just got some C4's from John Mayes (Review and clips coming)!

Y

Yareek

New member
Hey man, I was gonna let you know that I got those C4's in the mail, but hey, found that you post here instead!

I just want to thank you for hooking me up and getting these mics out so quickly...gave me a good day to play with 'em!

Anyways, they're my first SDC's and I'm REALLY digging 'em. On my Tama Starclassics, they sound BEAUTIFUL up in an ORTF, really nice in spaced-pair, and I never did like the X-Y. I recorded a whole bunch of clips with my minidisc that I'll get up by tomorrow night. Main discoveries: ORTF is very detailed with a great amount of kick drum, decent toms, and very accurate stereo placement. X-Y is probably mono-compatible more than anything else, but I just don't like the lack of stereo spread. The spaced pairs generally have a little more bass but they can be a bit harsh because of being too close (I have low ceilings).

I find it interesting that there is quite a difference between the omni and cardioid capsules. The cardioids are very smooth and detailed, with just a hint of a midrange bump (improves clarity, but can sound a bit harsh/loud when mic'ed up improperly). The omni's are very dark sounding, with a lot of bass and a very "unified" sound, but that may just be because there's not really any treble to speak of. They aren't as natural as I would have expected with my previous omni experience, but they may have their place with really bright sources.

And on acoustic guitar, this is the sound I've been looking for. My NT2 got kinda close, but not quite there at all. About 4" - 6" from the spot where the neck meets the body, directly pointing at the fingerboard, with the cardioid capsule...that's perfect. You've got quite a bit of clarity (imagine hearing the pick on the strings instead of hearing treble and midrange) but also have enough bass to stand up on a solo track. I didn't really like any other placement - including the omni...it could just be my guitar (Tacoma Rosewood/Spruce solid wood guitar).

As far as downsides go...I don't like the shockmounts...one's very loose-fitting, the other's tight. I might get some AKG D112 mounts, as they are about the same diameter but very tight. Also, the omni capsules are quite dark...I'm sure I'll find some use for them...but hey the cardioids are quite nice, so I'm thrilled.

Again, thanks to John and I'll get some clips up tomorrow night.

- Jarick
 
yeah, the shockmounts suck, buuuuut, if you pull the elastic around the back one, you can then slide the mic in and it holds it perfectly, also keeps the whole thing in better positioning... I may try to take a pic of this, cause it's helped me a TON, I was usin' d112 clips before, too, but those are expensive, and I need one for my d112!
 
They re-designed the shockmounts and mail the new ones out for free, so that's not a problem.

CanopuS mailed me some stunning acoustic tracks done on C4s a while back so I've been set on them since.
 
I read that the C4 mics are or have changed too... also, the B1 and B3 are going to be changed soon too. It seems like PMI-AG is always re-designing, modifying or changing their products... too bad they don't just get it right the first time.
 
DJL said:
I read that the C4 mics are or have changed too... also, the B1 and B3 are going to be changed soon too. It seems like PMI-AG is always re-designing, modifying or changing their products... too bad they don't just get it right the first time.
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Kind of a shitty thing to say. I guarantee that the newest Ford is sleeker, runs better and is all around better than the 1st Ford they ever made, or the 4th.
Why didnt they just put out the 64 bit 3.2ghz processors in 1989 instead of going though this big drawn out process....
 
Hmm, you're confusing apples with oranges... lol. I think some hr.com members may find this info helpful. For example... some people may not know yet that there may be a huge difference between some of the older, newer or future SP mics even tho they may be the same make and model. Anyway, it's been a long day and it's 3:40AM and I've got another big day tomorrow, so I'm going to bed. Good night. :)
 
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No Don, I think it's you who have your fruit basket upset. I think Alan would be remiss if he didn't continue R & D to make a better product at an affordable price with the best support available.
 
Big Kenny said:
No Don, I think it's you who have your fruit basket upset. I think Alan would be remiss if he didn't continue R & D to make a better product at an affordable price with the best support available.
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I think that DJL is only making a point that if the C4's change so that the sound changes, then in the future, there will be no real way of knowing if a used C4 will sound like the original, the next rev, the next rev etc.

The #1 reason that certain mics become a studio staple is that the engineer KNOWS what it sounds like. AN SM57 is an SM57 unchanged for like 30 years or more. Same with a U87, MD421,441 etc.


The great mics in history have all stayed the same. That is why they became great tools and are in virtually all the pro studios.
 
Yeah but he sorta does have a point. It probably could have been stated a little better though.

IMO it would be better if they marketed the improvments as different model numbers or something like that.
 
Yup but I think the last time we went around the houses on this issue it was discovered there were basically no tonal changes being made, it was just functional stuff like the clips. Whatever ... I'm just bored of the vendettas. :)
 
noisedude said:
Yup but I think the last time we went around the houses on this issue it was discovered there were basically no tonal changes being made, it was just functional stuff like the clips...
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You'd be the man to know about these things now, I hear. :)
 
acorec said:
I think that DJL is only making a point that if the C4's change so that the sound changes, then in the future, there will be no real way of knowing if a used C4 will sound like the original, the next rev, the next rev etc.

The #1 reason that certain mics become a studio staple is that the engineer KNOWS what it sounds like. AN SM57 is an SM57 unchanged for like 30 years or more. Same with a U87, MD421,441 etc.


The great mics in history have all stayed the same. That is why they became great tools and are in virtually all the pro studios.
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The U87 has gone through many major revisions.
acorec, I really don't care what DJL has to say. We look at it as entertainment. You on the other hand, post at times some terribly incorrect information and it bugs me as you appear in general terms, to be somewhat credible and seem to be something less than a total nutcase.
As always and as I have told you before on this BBS: You are totally free to say whatever you want, however I think you should really do yourself the service of knowing that of which you speak.

Brent Casey
 
I just wanted to say that I've heard the C4's also and they will be my next purchase. IMO I thought they sounded great on Acoustic guitar.

Thanks PMI. :)
 
Brent Casey said:
The U87 has gone through many major revisions.
acorec, I really don't care what DJL has to say. We look at it as entertainment. You on the other hand, post at times some terribly incorrect information and it bugs me as you appear in general terms, to be somewhat credible and seem to be something less than a total nutcase.
As always and as I have told you before on this BBS: You are totally free to say whatever you want, however I think you should really do yourself the service of knowing that of which you speak.

Brent Casey
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Just pointing out that if the mic is changed in sound, it becomes harder to judge what a used one will sound like in the future.
According to the late Stephen Paul, contrary to poular belief, the U87 never changed at all except for some minor power supply re-design. The capsule and it's components never changed and were and are still one of the best capsules out there. Absolutely his words, not mine.
 
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