Sennheiser MKH 20 + HF rolloff....

[Guest]

Archived from groups: rec.audio.pro (More info?)

Hi team,

Can anyone explain to me how the HF buildup rubber ring supplied with the
MKH 20 works...and it's relation to the diffuse field slide switch on the
side of the mic body ?Tomorrow sees me recording 4 voice baroque singers,
cello, 2 wooden recorders and harpsichord...all bunched in close together.
Probably will go with a pair of MKH 20's on a spacer bar, and deciding
whether to use the rubber ring or not ? Any advice will be welcomed !!
Thanks...Ray


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[Guest]

Archived from groups: rec.audio.pro (More info?)

Ray Thomas <rthomas@chariot.net.au> wrote:
>
>Can anyone explain to me how the HF buildup rubber ring supplied with the
>MKH 20 works...and it's relation to the diffuse field slide switch on the
>side of the mic body ?

The slide switch changes the top end response in all directions. The
rubber ring changes the top end response off-axis only.

Tomorrow sees me recording 4 voice baroque singers,
>cello, 2 wooden recorders and harpsichord...all bunched in close together.
>Probably will go with a pair of MKH 20's on a spacer bar, and deciding
>whether to use the rubber ring or not ? Any advice will be welcomed !!
>Thanks...Ray

Religious issue. I can say that, using baffled omni, I tend to prefer
not using any of the ring or ball arrangements. Without a baffle, I could
see how you might want something that would give you a little directionality
on the top like a tennis ball.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

The ring introduces a bit more diffraction in the HF, resulting in a
slight mid-high rise to the front, and a slight mid-high dip to the
rear of the mic. It's a subtle difference, but I like the effect. the
DPA "acoustic equalizing spheres", the Neumann SKB130 and the Neumann
M50/M150 all operate on a similar principal.

The HF lift switch, as Scott points out, boosts the HF from all angles.
In general, I would (and have) used the former but not the latter. The
switched version sounded to "wiry" to me.
Karl Winkler
Lectrosonics, Inc.
http/www.lectrosonics.com

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

I usually use mine with neither the ring or switch on..... also a Religious
issue.... The venue I use them in is overly reverberant and they tend to end
up much closer than they would in a "normal" hall where the ring or diffuse
switch might be appropriate...

You just have to listen....

Rgds:
Eric

"Scott Dorsey" <kludge@panix.com> wrote in message
news:cpcfgs$5f2$1@panix2.panix.com...
> Ray Thomas <rthomas@chariot.net.au> wrote:
> >
> >Can anyone explain to me how the HF buildup rubber ring supplied with the
> >MKH 20 works...and it's relation to the diffuse field slide switch on the
> >side of the mic body ?
>
> The slide switch changes the top end response in all directions. The
> rubber ring changes the top end response off-axis only.
>
> Tomorrow sees me recording 4 voice baroque singers,
> >cello, 2 wooden recorders and harpsichord...all bunched in close
together.
> >Probably will go with a pair of MKH 20's on a spacer bar, and deciding
> >whether to use the rubber ring or not ? Any advice will be welcomed !!
> >Thanks...Ray
>
> Religious issue. I can say that, using baffled omni, I tend to prefer
> not using any of the ring or ball arrangements. Without a baffle, I could
> see how you might want something that would give you a little
directionality
> on the top like a tennis ball.
> --scott
>
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."