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Negens « It does very well what he can do! »
Published on 02/24/12 at 12:05Micro Tape passive
Figure 8
No suspension comes with the microphone. Must be purchased separately. This is unfortunate because the microphone is quite large and has a weight which is not negligible.
OVERALL OPINION
I had one for a year and have sold, before buying a
When I had my first ml-52, I used to record a guitar amp and singing.
It is beautiful clean tones and crunch. Despite the relatively dry side of a ribbon mic, it picks up very well, and gently lower the mids, which softens this type of guitar sounds.
like any good ribbon mic, it softens the treble, so it's very pleasant for the solos.
I was quite disappointed on the other hand on the voices, especially women, because then the sound seems very muffled. I was younger and I did not have many ideas of equalization. In fact, it may be very appropriate if one seeks an intimate aspect of a voice.
Following that, I had sold.
Two years later, trying to record stringed instruments (violin, viola and cello), with condenser microphones (TSM MT184, My Mojave-201 FET), I could not find my account, especially on the viola. Too aggressive treble, mids that lack of heat, a serious too resonant.
That's when I remembered the properties of ribbon mics and thought back to the ML-52-02.
On violin, it's really not bad, although I remain convinced that other microphones can better honor to this instrument. Do we still have the means to afford a Schoeps. (This is not my case).
Course on cello, it is perfect is also a standard configuration: Ribbon + cello = great!
More importantly, it is on the viola that I'm finally satisfied. Properly record this instrument is simply an obstacle course.
If you use the wrong microphone, you get a nasal sound. When you try to capture its pretty serious, you may pass it off as a cello and go crush the specter of the cello, when you try to mitigate the severe acute that you have you tearing your eardrums, and again the nasal sound.
When you save it too far, and that the acoustics of the room is not very good, the result is horrible.
And this is where the tape does wonders!
the ML-52 softening and mitigating acute value they do attack you more. and other frequencies as the viola the cello a little closer, the ml-52 restores them faithfully. A grave is easily manipulated, the character of the instrument in the medium is returned. And more nasal sound.
Decision can be a little more close with a condenser microphone, it reduces room reverberation, and it is frankly appreciated.
It should however be noted with some treble EQ. But nothing fancy. No brainer here.
For that price, the ML-52-02 is a very good microphone which is very useful for certain applications.
Always have a ribbon in his set of microphones. It was not always necessary, but in their fields, they remain unsurpassed.
Figure 8
No suspension comes with the microphone. Must be purchased separately. This is unfortunate because the microphone is quite large and has a weight which is not negligible.
OVERALL OPINION
I had one for a year and have sold, before buying a
When I had my first ml-52, I used to record a guitar amp and singing.
It is beautiful clean tones and crunch. Despite the relatively dry side of a ribbon mic, it picks up very well, and gently lower the mids, which softens this type of guitar sounds.
like any good ribbon mic, it softens the treble, so it's very pleasant for the solos.
I was quite disappointed on the other hand on the voices, especially women, because then the sound seems very muffled. I was younger and I did not have many ideas of equalization. In fact, it may be very appropriate if one seeks an intimate aspect of a voice.
Following that, I had sold.
Two years later, trying to record stringed instruments (violin, viola and cello), with condenser microphones (TSM MT184, My Mojave-201 FET), I could not find my account, especially on the viola. Too aggressive treble, mids that lack of heat, a serious too resonant.
That's when I remembered the properties of ribbon mics and thought back to the ML-52-02.
On violin, it's really not bad, although I remain convinced that other microphones can better honor to this instrument. Do we still have the means to afford a Schoeps. (This is not my case).
Course on cello, it is perfect is also a standard configuration: Ribbon + cello = great!
More importantly, it is on the viola that I'm finally satisfied. Properly record this instrument is simply an obstacle course.
If you use the wrong microphone, you get a nasal sound. When you try to capture its pretty serious, you may pass it off as a cello and go crush the specter of the cello, when you try to mitigate the severe acute that you have you tearing your eardrums, and again the nasal sound.
When you save it too far, and that the acoustics of the room is not very good, the result is horrible.
And this is where the tape does wonders!
the ML-52 softening and mitigating acute value they do attack you more. and other frequencies as the viola the cello a little closer, the ml-52 restores them faithfully. A grave is easily manipulated, the character of the instrument in the medium is returned. And more nasal sound.
Decision can be a little more close with a condenser microphone, it reduces room reverberation, and it is frankly appreciated.
It should however be noted with some treble EQ. But nothing fancy. No brainer here.
For that price, the ML-52-02 is a very good microphone which is very useful for certain applications.
Always have a ribbon in his set of microphones. It was not always necessary, but in their fields, they remain unsurpassed.