Sp C3

gobblefisher

gobblefisher

New member
Does the manufacturing of these Studio Projects C-3 microphones allow for the same consistency as that of the M-Audio claim wherein buying two of them would allow for a matched pair?
 
The question you should ask is whether M-Audio's claims are bullshit. The SP mics are grouped into groups of compareable output levels denoted by colored dots on the boxes. If you get 2 mics with the same color dot, they will be somewhat closer in output than if not. That does not involve rigorous matching of output across the audio spectrum, nor, I suspect, does any claim by M-Audio involve such matching. However, there aren't that many applications that require a rigorously matched stereo pair, either.
 
Richard Monroe said:
The question you should ask is whether M-Audio's claims are bullshit. The SP mics are grouped into groups of compareable output levels denoted by colored dots on the boxes. If you get 2 mics with the same color dot, they will be somewhat closer in output than if not. That does not involve rigorous matching of output across the audio spectrum, nor, I suspect, does any claim by M-Audio involve such matching. However, there aren't that many applications that require a rigorously matched stereo pair, either.
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And what, may I ask would be an application requiring a rigourously matched pair?
 
Generally, a matched pair is disireable for true stereo recording of a critical source. Say- recording a string quartet with 2 mics. Although it's desirable for acoustic guitar, a matched pair isn't that big a deal except for X-Y coincedent, ORTF, spaced, Blumlein, or recording with a Decca tree.. Most people in recording outside of classical, use a pair of mics for acoustig guitar or drum overheads. Bizzillions of great recordings of both have been done without a matching pair of mics. If you plan on doing church choirs or live stereo recording, a matched pair becomes important.-Richie
 
Richard Monroe said:
Generally, a matched pair is disireable for true stereo recording of a critical source. Say- recording a string quartet with 2 mics. Although it's desirable for acoustic guitar, a matched pair isn't that big a deal except for X-Y coincedent, ORTF, spaced, Blumlein, or recording with a Decca tree.. Most people in recording outside of classical, use a pair of mics for acoustig guitar or drum overheads. Bizzillions of great recordings of both have been done without a matching pair of mics. If you plan on doing church choirs or live stereo recording, a matched pair becomes important.-Richie
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it just so happens I am recording classical music...not the everyday rock band
 
gobblefisher said:
it just so happens I am recording classical music...
Click to expand...
Then why not get a pair of C4s? I think they would be a better choice for this application, and they come in matched pairs.
 
A matched pair of multi pattern ADK TL's ($800ish), or Avenson STO-2 omni's ($500) would be nice for recording classical. Both these come in matched pairs, and both are transparent mics suitable for critical recording.
They would both give you more dimensional detail and depth than the C3's.
 
Avenson STO-2's run a noise level of 28 dB(-A)!!! Do they really sound, and appear that loud? Has anyone any experience with them?
 
Earthworks QTC1's have a noise level of 22dB and they are a serious mic.
I guess it could be a problem for really quiet sources.
Folks who have used them say it's generally not a problem.
 
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