Matched vs Non Matched

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sbcgroup2

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Is there any real difference between a matched pair of mics and a non-matched pair? For example, I am finding a lot of good deals on 414's that are only offered singularly; it would be easier for me just to buy one from one place and another from another. It's harder to find the pair together...

Thanks!
 
I depends on what you're using them for. If you're doing critical stereo recordings with a lot of coincident miking (XY, Blumlein, etc.), then a matched pair would be best. There are slight differences in output across the frequency curve for any individual mic capsule that will show up in those types of recordings. Sweetwater and other dealers sell the matched pairs (B-XLS) for about $2000, new.

For general recording purposes (drum overheads, etc.) matching is less critical.

Personally, if you can get a good deal on some used B-ULS's, I wouldn't worry much about the matching.
 
I don't do a lot of recording that requires a perfectly matched pair. As a result, I like it when I get two mics that are slightly different. I usually mark them so I know the differences which can help me pick the right one. When used for things like drum overheads, the little differences do not bother me. When used on acoustics, I actually like the little differences since each of my two mics is usually intended to pick up differemt parts of the acoustic.

That being said, my pair of 414's were purchsed new and at the same time, and are different. Tonally I can not tell the two apart, but their outputs seem to be at different levels. It seems like a lot of the ULS and EB 414's were this way. The TL2's and the newer X series seem to be much more closely matched off the production line without hand matching them.
 
The saying "close enough for rock'n'roll" comes to mind. For someone like Big Ray, who does classical recording, matched pairs are implied. But for most recording applications, I really don't think it matters at the end of the day. In your average recording situation are you going to put the source perfectly in the center of a perfectly symetrical room with no other objects in the room, or only objects that have an identical twin symetrically placed? Are you going to use matched and calibrated preamps and precisely match the gain settings? It's a nice concept, but for me at least, it's too clinical too worry about for most music apps.
 
Re:

Yeah, I know...if all else fails, I'll by 'em for $2k, but I'm finding new in box separates for in the $630 range... Hopefully the ULS is good enough...wish I could find the EB's...
 
sbcgroup2 said:
Yeah, I know...if all else fails, I'll by 'em for $2k, but I'm finding new in box separates for in the $630 range... Hopefully the ULS is good enough...wish I could find the EB's...
Click to expand...


you can...you just need patience.
 
BigRay said:
you can...you just need patience.
Click to expand...

Interestingly enough I was out there looking around this morning and it's the first time in recent memory I *haven't* seen a 414EB or two out there. They're normally very common on Ebay.
 
Having spent plenty of time working with both ULS's and EB's, you won't regret either one. There is not that large of a difference between the two that would necessarily warrant waiting for too long. In fact, I have tried many things in which listeners preferred the ULS over the EB and vice versa. I do tend to usually like the EB better on vocals and electrics than the ULS, but not on piano, percussion, OH's etc...
 
Re:

1. How about the XLS in comparison with the ULS. A guy is offering me a great deal at around $1400 for the pair. They're brand new and he can't get the ULS models. I think this may have been answered in my other post; any additional comments are helpful.

Like I said before...I can just forget about everything and just have some patience for the prized EB's instead. Since they're hopefully always popping up on Ebay....

2. If I do purchase two EB's, do I have to be worried because they're old mics and the elements could be worn down? Or is it like with speakers where age just gives it more character...?

3. Are 414's good as spot mics on guitar cabs too? I currently mic up close with a 57 (which is in your face sounding) and want to add a second mic to grab a little airy presence (backed off slightly).

Thanks! You guys rock.....
 
the EBs, by far...BY FAR are superior , sonically to the new versions IMHO, of course....I know a lot of working engineers who would agree... the eb just has that "vibe" that the new harmon akg stuff lacks.

the XLS offers one more pattern that the ULS did not..(subcard)..theres your advantage.

sonically I cant tell those two apart.
 
I know just as many people who will also tell you that the EB model does not sound that differnt than the TL2 model. Its all a matter of preference. I have worked with plenty of EB models and never onced have I considered selling my ULS models since they have a different character. Personally, the EB (or TL2) fits my style better, but the ULS , XLS whatever seems to fit more things... i.e.... more versatile. Then again, when the Eb (or TL2) fits, it FITS. The ULS just always does a good job, but most often something else does it a little better ( or a lot). Having a piar though is a good thing because often I need those at the same time I may want or need the one that may do better.
 
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