briank « Clean, high value, musical SDCs »
Publié le 18/07/12 à 20:53
(contenu en anglais)
The Peluso CEMC-6 is a solid state phantom-powered condenser microphone suitable for live sound or studio use. The microphones allow for the use of interchangeable small-diaphragm capsules available from Peluso. The variety of patterns include cardioid, wide-cardioid, omnidirectional, and hypercardioid. The mics also feature a nice pad switchable between -10dB and -20dB, and a three-position high pass filter switchable from no rolloff to 75hz and 150hz.
I personally own the stereo kit along with the stock cardioid and optional omnidirectional capsules. In addition to the pair of mics matched to within +/- 1dB, the stereo kit also includes two standard rigid mic clips plus two elastic spider shockmounts, and a carrying case which includes space for two mics, the two clips, two spider mounts, two foam windscreens, and cutouts for a few pairs of extra capsules.
OVERALL OPINION
As the model name would indicate, these mics were designed with certain characteristics of the venerable (and much more expensive) Schoeps CMC6 in mind. I cannot say these mics are ruler flat as there is a gentle rise in the uppder mids and highs, but the sound is fairly clean and clear with just a bit of a sheen to the high end. With a general lack of the graininess or thin mids that is so often a deal-breaker for most low-priced SDCs, they certainly sound more "expensive" than their modest price tags would suggest, and the pads and high pass filters give them very good flexibility. These mics excel on acoustic stringed sources such as acoustic guitars, mandolin, violin, piano and so-on as well as percussion, and can be used to good effect as stereo room mics where a clean pickup characteristic is desired.
I do not, however, recommend them for drum overheads particularly over rock kits as they always seem to fall short there. For that source, they don't have the excitement or grip in the mix that I can get with other SDCs in their class from Audio Technica, AKG, Shure and Josephson. I can't recall a time where the CEMC-6s have won a shootout over rock drums, though they do very well on percussion sources such as tambourines, shakers, and over congas, bells, xylophones and the like.
As for other dislikes, I have found that the finish of the mic bodies does not hold up well--my pair developed a certain patina over time that makes them look like they have been used hard, even though mine always stay in the studio, are always kept in their case when not in use, and are only physically handled for the time it takes to pop them in their clips or mounts. Additionally, the spider mounts' elastics wore out very quickly within the first year and with moderate use at best. All spider mount elastics wear out eventually, but I have never seen any stretch out as fast as these did. Replacements are available through Peluso for free while covered under warranty, or for a nomical charge out of warranty, but I was disappointed at how quickly the spider mounts were rendered useless until replacements were sourced. At least there are rigid clips also included! The carrying case for the stereo kit fits everything very well but is light-duty in terms of quality. I would not expect the handle and latches to hold up well in road use, though it's fine as long as it rarely leaves the studio. The pad and HPF switches are recessed, which is nice in that they will not be accidentally moved while is use, but it dies mean that you need to use a pen to switch them. The only other caveat is that particular care must be taken when storing spare capsules, and when screwing and unscrewing capsules on the mic body.
In summary, if you're after a clean, smooth, musical sounding small diaphragm condenser mic or two at a price and sound quality level that anyone from an weekend warrior home studio guru to a well-seasoned studio professional can swing, and if you primarily want them for acoustic instruments and not drum kits, and if you don't expect them to live hard-use lives, these should be high on your list of mics to consider and represent an excellent value.
I personally own the stereo kit along with the stock cardioid and optional omnidirectional capsules. In addition to the pair of mics matched to within +/- 1dB, the stereo kit also includes two standard rigid mic clips plus two elastic spider shockmounts, and a carrying case which includes space for two mics, the two clips, two spider mounts, two foam windscreens, and cutouts for a few pairs of extra capsules.
OVERALL OPINION
As the model name would indicate, these mics were designed with certain characteristics of the venerable (and much more expensive) Schoeps CMC6 in mind. I cannot say these mics are ruler flat as there is a gentle rise in the uppder mids and highs, but the sound is fairly clean and clear with just a bit of a sheen to the high end. With a general lack of the graininess or thin mids that is so often a deal-breaker for most low-priced SDCs, they certainly sound more "expensive" than their modest price tags would suggest, and the pads and high pass filters give them very good flexibility. These mics excel on acoustic stringed sources such as acoustic guitars, mandolin, violin, piano and so-on as well as percussion, and can be used to good effect as stereo room mics where a clean pickup characteristic is desired.
I do not, however, recommend them for drum overheads particularly over rock kits as they always seem to fall short there. For that source, they don't have the excitement or grip in the mix that I can get with other SDCs in their class from Audio Technica, AKG, Shure and Josephson. I can't recall a time where the CEMC-6s have won a shootout over rock drums, though they do very well on percussion sources such as tambourines, shakers, and over congas, bells, xylophones and the like.
As for other dislikes, I have found that the finish of the mic bodies does not hold up well--my pair developed a certain patina over time that makes them look like they have been used hard, even though mine always stay in the studio, are always kept in their case when not in use, and are only physically handled for the time it takes to pop them in their clips or mounts. Additionally, the spider mounts' elastics wore out very quickly within the first year and with moderate use at best. All spider mount elastics wear out eventually, but I have never seen any stretch out as fast as these did. Replacements are available through Peluso for free while covered under warranty, or for a nomical charge out of warranty, but I was disappointed at how quickly the spider mounts were rendered useless until replacements were sourced. At least there are rigid clips also included! The carrying case for the stereo kit fits everything very well but is light-duty in terms of quality. I would not expect the handle and latches to hold up well in road use, though it's fine as long as it rarely leaves the studio. The pad and HPF switches are recessed, which is nice in that they will not be accidentally moved while is use, but it dies mean that you need to use a pen to switch them. The only other caveat is that particular care must be taken when storing spare capsules, and when screwing and unscrewing capsules on the mic body.
In summary, if you're after a clean, smooth, musical sounding small diaphragm condenser mic or two at a price and sound quality level that anyone from an weekend warrior home studio guru to a well-seasoned studio professional can swing, and if you primarily want them for acoustic instruments and not drum kits, and if you don't expect them to live hard-use lives, these should be high on your list of mics to consider and represent an excellent value.
