Rode NT5 vs MXL 603

[ausrock]

Armistice,

The CW80's are very full and resonant and do take some work, but a silly suggestion......try putting an SD in close on the headstock.........like 1 or 2 inches off the timber, and blend that sound in. Try and really pick up the sound that you would hear if your ear was touching the guitar.

 

[DJL]

For sure I'll be certian to write a little review and possibly some sound clips. I got them off ebay. Caught the auction at the last second.

That would be neat. Deals like that are rare... but, I've scored good from ebay also... anyway, you were lucky. Oh, you may want to look into getting some nice dynamic mic's at some point in time also.

 

[Armistice]

I'll give that a try ausrock - I don't think it's a silly suggestion at all - I was heading in that direction with the mic halfway up the neck at the back - just seemed to cut out a lot of the nasty stuff I was hearing (in a blended sound). Proving very frustrating, I can tell you - had to leave it for a couple of days as the temptation to smash guitars was getting too high!

Seeing you're an Aussie and seem to know your stuff re Matons, can I ask you another question?

I picked the CW80 new a year or so ago, instead of the normal satin finish it actually has the full gloss finish (along with upgraded binding and gold hardware) seemed to be a one-off up-'spec'ed instrument - maybe someone ordered it and couldn't pay for it or something - anyway any thoughts on sound differences in these guitars in terms of gloss vs satin finish? From a recording perspective I mean.

I've also got a 325 with the normal satin finish, and so far I'm getting a better recorded sound with that than the CW80, which is disappointing.

Cheers

 

[ausrock]

Armistice,

Your CW80 appears to have been spec'd along the lines of the "Stage" series or from memory the "Messiah". I strongly doubt that the gloss finish will have any bearing on recorded sound. I have played Matons, both gloss and satin and any difference in sound is so subtle that it isn't an issue.

I have found that in general terms, as you progress through the Maton range, the guitars have a fuller, more resonant projection of their sound, which I think is to be expected as you will find slight increases in body size and higher quaity timbers being used. Obviously, the prime object in their design is to perform as an acoustic and I suspect each models recording characterisics were not a major concern.

For the record, we have 5 Matons here.............an old "Alver" arch top which I've had since about '64, a CW80/12 ......April/69 #275 which I purchased new for $151.25, an ECW80C/6 ......April/95 #8052 and my Son's EM525C and JB6 electric. Additionally we have both 225's and 325's that are here frequently.

Finding a sweet spot for micing the CW80 is going to be more difficult than any of the lower models simple because of the nature of the guitar, BUT given the choice of owning a 325 or an 80 and I'll pick the 80 any day of the week. They are just "that much more" of a guitar.

If possible, have someone play the guitar and while they are, move around out in front, preferably with just one ear facing the guitar listening for those sweet spots...............move in close and further out, ALL around, top and bottom too. Try and remember how it sounds at different positions as what you want to hear recorded one day, may be different for the next song.

Good luck.

 

[ausrock]

Just for the record........an update;

Studio Projects are shipping the new C4 SD mics, so if anyone is curious and financial enough to buy some and do some evaluating, I think a lot of people would be appreciative.

When they'll arrive on this side of the planet and what their price will be remains to be seen.

 

[Armistice]

Ausrock (sorry to hijack the original post guys!)

Tried your suggestion out - had one NT5 about 12" back from 12th fret, the other about 3" from the headstock - also set up my NT2 at about 8" from the 17th fret pointing at the 12th fret on cardioid pattern and took a feed from the pickup as well with all the bass cut from it.

Very interesting - I'm closer than I've ever been to getting a usable sound from the four separate channels - the NT5 at the headstock gives you a sound which isn't really usable in itself, but fills in some of the highs missing from the "main" mic at the 12th.

Going to listen to it with fresh ears tomorrow, there's still a middy sound there but I haven't eq'd it with any great depth - might swap pres around as well - using Presonus MP20 on the NT5s and Mindprint Envoice on the NT2.

I should point out when I say that I'm not getting a "usable" sound from the NT5s that I'm trying to get a sound that will stand alone as a solo guitar - not something I can mix with other sounds. Getting there, but I can see that I'm going to have to save up for a "real" SD condensor maybe!

You sound like you have a studio there (wherever you are!) - I could have paid you to record me for all the money I've spent on this quest so far.... as my girlfriend keeps telling me... gotta spend it on something I guess.

Thanks for the advice, appreciate it!

Cheers

David

 

[ausrock]

David,

Glad to see progress. I actually came across the headstock technique when trying to get "that" sound out of a 225. I guess, due to the timbers in that particular guitar, the headstock gave off a clear, bright sound that added something to the other mic. I used an ECM8000 about an inch off the headstock face to pick up the actual sound of the timber and told the guitarist NOT to move too much while playing.

The "studio" is just something I have gradually set up at home, (which is in Newcastle), at this stage, mainly for our own use........spent the last 3 hours putting down scratch tracks with my son and his singer for some acoustic demos they are doing.

For the $79, it may be worth your while to try one of the Behringer ECM8000 small diaphragm omnis.

Good luck and have fun.

ChrisO