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Hi, Gefell advise that the proximity effect (or bass tip up as it is sometimes called) begins when the source is one meter from the microphone or nearer. The amount of bass boost increases as the distance between the source and the microphone gets smaller. Ta like, ppm6.

@@ppmtv-qh9qk Perfect, now I understand. It's just that I just have an m930 and it's really wonderful. I'm VoiceOver and so far I'm fascinated with this microphone. I follow your videos, keep it up, a hug from Uruguay

Hi Maldonad, You have made a great choice of microphone. The m930 is a very, very good mic and well priced compared with some of the competition and it's small size means it gets into lots of tight spaces. I'm hoping to try the new Gefell 400 series mics - the are very small format sdc mics to compete with Scheops I think. Ta like, ppm6.

Thanks Juan - it would be a shame if that were the whole story. But the two musician's headphone outputs carry the stereo mix (in stereo) plus either Aux3 or Aux4 depending on the output. Ta like, ppm6.

Hi MMB - did you get the KSM 27 or the SM27? I love the 27 and think it is a real bargain. However I am sad because I bought a second hand Beta 27, the hypercardioid version and it has gone noisy. Life's rich tapestry I suppose. Do let me know how you get on with yours. Ta like, ppm6.

​@@ppmtv-qh9qkoh no! Sad to hear that your Beta 27 has gone noisy! My blu yeti has stopped producing audio for me entirely in my DAW so I purchased the KSM 27 for replacement. I'll let you know how it fares, I'll even upload a video on my channel! Thank you sir.

Looking forward to the video - there's a theory that late model KSM27s have the same low noise circuitry as the newer SM27s. Not that the stock KSM27 has a noise problem... but I've never managed to find any detail on which serial numbers to look out for. Anyway I'm sure the 27 will serve you well. Ta like, ppm6.

Thanks Zach - version 5.0 of the firmware for the F8 has brought them a bit closer:- zoomcorp.com/media/documents/F8n_vs_F8_ComparisonChart_2.pdf Proper line level output is the standout for me. Mind you F8s are cheap now... The F6 and 32 bit has made the F8 not so desirable second hand. Ta like, ppm6.

Very kind of you Ben. Thanks for dropping by. Ta like, ppm6.

Hi Hendrik, without seeing the lay out I can only give general advice. The CM4 is excellent though maybe not as robust as an sE8. Both are cardioids. Are you planning stereo streaming - you can experiment with coincident and maybe ORTF mic placement. Spaced omnis are another option - there is an omni capsule for the sE8 which I don't have and Line Audio make an omni version of the cm4 - which might be the CM2. Depending on your approach omnis may be less useful for other things, certainly any time you want directionality. Let me know how you get on. Ta like, ppm6.

Hi Mustafa - there's nothing like real world experience and you've done some ground work to back up your choice. I would also consider the Line Audio CM4 and maybe a second hand KSM27 to add to your recommendation of the sE8 - which here in the UK is very well priced bargain! Ta like, ppm6.

Hi Aretm, in BBC talks studios in the olden days we did 1 + 1 with a ribbon mic and moved it back and forwards to suit the strength of the two voices... But now I think best to get two mics maybe the Lewitt 040 which are very affordable to start with. Might be easier to get than the CM4. Here it is with the Neumann 184 ruclips.net/video/sTubBujPMdg/видео.html Ta like, ppm6.

@@ppmtv-qh9qk Thank you for the response! I was aiming at true condensers, but maybe I should reevaluate my decisions. Also, the Lewitts 040 were not even under my radar, I should take a better look.

I haven't checked but my guess is the Lewitt's are electret while the sE8 is a true condenser. Ta like, ppm6.

@@ppmtv-qh9qk Yes, these are electret. Another alternative to the Lewitts is sE7. These are little brothers of sE8 and also electrets at a comparable price.

I've had a few questions about the sE7s... I'll try and get some. I have not experience with them to date however. Ta like, ppm6.

I think that is a very fair comment. The Neumann's are three times the price and to some extent you get what you pay for. Having said that there's no reason not to get excellent results with the sE8 and of course you can buy three of them for the price of one 184. But then I'm not giving up my 184s either. Thanks for the real world experience. Ta like, ppm6.

Hi, I have only used the 16R with Studio One as a multitrack recorder without plugins etc. Have you reached out to Presonus support or tried the forum for help? Ta like, ppm6.

Hi Pascal - I have heard lots of good things about the sE7 but I haven't yet got my hands on one. The sE7 is an electret and the sE8 a true condenser... That used to be a good deal but not so much nowadays. Ta like, ppm6.

Sorry for the delay Anthony - I feel that should work - my FLOW8 is out on loan at the moment so I can't check. Can you confirm that you have USB recording working and USB play back working independently and then what happens when you try to to do both at the same time? Ta like, ppm6.

The old Rode NT1 is now very cheap so good news there! Ta like, ppm6.

Standard Cat6 will be fine. Have fun. Ta like, ppm6.

@@ppmtv-qh9qk ok thank you

Andertons suppled a new one by return post! Very good service. Ta like, ppm6.

@@ppmtv-qh9qk and did it have the same issue?

No it was fine. Someone in the comments pointed to the problem being in the power supply rather than the FLOW itself. Ta like, ppm6

@@ppmtv-qh9qk so some power supplies put out too much noise?

Well I think the original suppled psu was noisy and the replacement was fine - do you have a noise problem with your FLOW? Ta like, ppm6.

Hi Eduardo - I haven't got my FLOW plugged up at the moment... but if you plug the monitor output back into a line input channel then in recording mode you will be able to record this at the computer. Let me know if that works for you. Ta like, ppm6.

@@ppmtv-qh9qk Hi Sr, thanks for your reply. About your proposal, although it uses two inputs 5/6 (for stereo), I can confirm so far it is working fine. I can take that 5/6 combination from my computer as single input and record or stream the stereo monitor through them. Best regards, thank you.

@@ppmtv-qh9qk I have to say this setup was really important for me, as (among other things) it allows me to have different volumes in the mic from I a hear (main) from what I stream (monitors) in video conferences.

Sorry for the delay - been away - glad the plugging worked for you - the FLOW is a very flexible device! Ta like, ppm6.

Good spot - I'll try and get a hold of one. Ta like, ppm6.

Very good question. Can I point you to the audiosciencereview website for technical reviews and tests. I had a quick look for the iD44 but couldn't find it but they have other Audient interfaces and lots of RME. I'm going to say that their DAC performance will be close enough not to be audibly different. But you may have better ears than me! Generally RME are considered to have the best drivers in the business but the Audient is handily cheaper... it is a tough call. I say you will be happy with either. Ta like, ppm6.

True dat - and of course many can be killed by phantom power. There is an exception to every rule though - the Coles 4104 lip mic. coleselectroacoustics.com/4104-commentators-microphone/ Used on outdoor sporting events across the world and plenty tough. I have one some where, must do a video some time. But generally keep them indoors and treat them with kid gloves. Ta like, ppm6.

Hi Steve - I have to say I haven't tried the MOTU switch so I don't have any real world experience. I do remember having to upgrade the firmware in my 112D which helped with AVB connectivity to my 16R. Your system looks great on paper, shame about dropouts. Does MOTU support offer any advice? Ta like, ppm6.

Sorry Oliver been busy. I assume you've got the main pair on the XLR outputs and the check monitors on line outputs? Inside the MOTU web app you select the mixer (rather than the router) and this allows you to assign and select main outputs and monitor outputs from your computers browser. I'm running out of desk/rack room so I don't have my 112D plugged up, the software is the same across the interfaces, but if you have further questions fire away and I'll replug and get back to you. Ta like, ppm6.

Hi - Well not an easy task because the Line Audio CM4 is not as widely distributed as some. 1 Line Audio CM4 2 sE8 - but it is just over your $200 mark 3 Lewitt 140 Try these videos, hope they help. ruclips.net/video/sc2dmO0d6JM/видео.html ruclips.net/video/ySKS63WyUTg/видео.html ta like, ppm6.

Thanks for taking the time to lay down some important detail. I think of your three points personally I'm not so bothered abut offline - as I have access to the 16R all the time. Though I can see not everyone will be in that position. Good point about PEQ but for me the tap point is likely the biggest stumbling block. Good spots all. Ta like, ppm6.

@@ppmtv-qh9qk You're welcome. Of course in some other contexts (like yours), all the problems i've pointed out have little significance :)

And that's why the more real world user info we have - the better things are. One interesting observation is that development in this segment of the market has slowed. A lot of the kit remains unrefreshed. Where is the rack mount A&H product based on SQ? And shouldn't the Wing rack have dropped by now? Which reminds me if the 16R had midi then adding a hardware fader solution would be easier. Anyway thanks for dropping by. Ta like, ppm6.

Hi - my latest on the Korg is that there is much to love - very flexible, mute groups, tidy preamps, plenty of outputs (though no direct outputs). However Aux 2 has developed some distortion and I haven't nailed down the cause yet, but of course it is out of warranty. And the big switch on/off thump annoys me. Ta like, ppm6.

Thanks - I love the Gefell mics sdc and ldc! I'm looking forward to trying the new Gefell 400 series which are sized to be competitive with the Schoeps mics especially for location work. These 300 series mics are very, very good! Ta like, ppm6.

Thanks for some thoughtful input. I have very much enjoyed schoeps mics when I have had them on loan, I just haven't got enough cash in the mic budget to spring for them. Ta like, ppm6.

The Sennheiser MKH-XX mics are top, top notch. Sad in a way that the 40 is no longer with us. I don't doubt the 50's quality at all. And you may well be right (I don't have a 50 here, but I loved the 60 I had on loan) but the 2017 is half the price...ish. I'm looking forward to the new Gefell 400 series - small Gefells. Ta like, ppm6.

That's very kind of you. Thanks for dropping by. Ta like, ppm6.

Thanks, no word from Dean's lawyers as yet! Ta like, ppm6.

Thanks for a good question. I'm going to say yes. Remember you have 20dB of digital gain in the channel and in a noisy karaoke environment people don't mumble, at least not in my experience. I think you'll be fine. Do let me know what happens when you go live with it. Ta like, ppm6.

@@ppmtv-qh9qk i hear that the BLX288 or all wireless mic have some level of pre amp to it. Maybe i can stay within 40db on the flow 8. best luck to myself!

Well I haven't tried this on the FLOW8 but I used this gain hack on the iD44 with the SM7B... ruclips.net/video/w8dhhSV4V14/видео.html Ta like, ppm6.

@@ppmtv-qh9qk that's great but it cost another 200-300 dollars. I was thinking about having both mics on XLR1 and 2 with gain at 40db and fader at unity. Then use 1/4 cable from monitor 1&2 and into 5 & 7 then adjust the gain from there as needed. sending 1&2 to monitor and only sending 5&7 to main output. at the cost of 2 1/4 cables.

That indeed is the idea of the gain hack - route the signal back in. But you might not need it if your singers give you plenty of oomph! Let me know how this interesting project goes? Ta like, ppm6.

Hi - I have quite a few cheap gun mic videos and number 3 features the CK98. ruclips.net/video/yXYuY4MMcVo/видео.html ruclips.net/video/CzifhArohaM/видео.html ruclips.net/video/ql4_XVFWcBU/видео.html The 416 has several advantages. Size - it's shorter Noise - it's quieter Moisture - the 416 works on the RF principle and better resists moisture Sound - it sounds better to me but the difference isn't enough to get you sacked off the job Reputation - it's massive Having said all that a 416 is going to cost a fair bit more. And if you have an SE300 amplifier, well that's a flexible advantage. However I regularly see cheap options from A-T and AKG in gun mics and they have most of the advantages of the 416 but at half the price. Happy searching. Ta like, ppm6.

Sorry for the slow reply Jonathan. The answer is I don't know! What have you got in the cupboard at the moment? My experience with the 451 (CK1 capsule) is limited to the classic made in Austria mics from my BBC days. Very flat, very flexible - a lot of options - very reliable - terrible threads on the capsules, easy to cross thread. Truth is they were dogs body mics, we used them on everything and they got the job done. What the new ones are like I don't know but a second hand one is very likely to be very well used and I would be cautious. We didn't have any C28s, though we did have a couple of C12s that no one used. From what I see C28s are very expensive - can you still get the tubes? Again I would be cautious. Sorry I can't be of more help. Ta like, ppm6.

HI MVM - great geography. I quite fancy a visit to Gefell one day and good that it would be easy to pop over to the CR. I'm waiting impatiently for the new 400 series mics from Gefell..... Come on guys! Ta like, ppm6.

The Gefell is great and I'm looking forward to the 400 series due soon! I wonder if the 480 was just too expensive. It was at least £400 more than the 184 and that often swing the balance. Thanks for dropping by. Ta like, ppm6.

I’ll keep an eye on the new models from MG. I’ll tell you, that AKG 480 is IMO right up there with Schoeps Colette, Sennheiser MKH & DPA 4000. Just an outstanding product that seemed to be overlooked for orchestral, keyboards, percussion, & symphonic instrumental studio work. When they pop up on eBay, they seem to go under $600, so I’d say they’re a bargain.

I agree - I have a 480 and a 460 - now there was talk of the 460 having a problem in the bass, transformer? I can't remember but the 480 is a beast - my main complaint is I can't find a 63 hypercardioid capsule and nor can all the other 480/460 guys! Ta like, ppm6.

Does indeed - a much overlooked bargain I feel. Ta like, ppm6.

Sound question, but not one I can answer. I haven't had a go on the UMT70s - though all the vibes are good. I love the M930, it really hurt to send it back! I don't think you can go wrong with it, it is a jewel and a bargain at the price. Having said that I I also love the OC818 - I just think it is taking the 414 story to another level. Would it be greedy to have a UMT70s and an m930? I can but dream. Ta like, ppm6.

I agree that the KSM27 sounds great and is a bargain. I'm going to give it a run out against an AT4040 when I get a minute. I'm still looking for an affordable Beta 27. Ta like, ppm6.

@@ppmtv-qh9qk I just did a blind test for it and my Neumann u87 and there is such a minimal differences. It’s insane. I can send it to you if you want.

Well that is a turn up! I'm away from home this week but I'll get back to you when I get home. Very interesting. Ta like, ppm6.

Thanks for such a comprehensive breakdown of your AKG kit. Here in Wales the BBC is pretty much all Neumann in the radio studios - TLM 103s. I have a couple of 414s but not a C214 - is a C214 a cardioid only version of the 414? I do love the 480 CK69 combination though it is physically more challenging than a 416. I have a CK61 but I really want a CK63 but they are very, very hard to come by! I envy you the VR61s - the only ones I have seen for sale have been well used and abused. Any way great to see a bit of love for AKG, keep up the good work. Ta like, ppm6.

Hi - now that's a great question. I thought I'd deploy the Dynacaster as a live vocal mic in my local church and it's been doing a champion job for the last year. And the flexibility of the extra gain for quieter vocalists is a boon. So I say - all good here! Ta like, ppm6.

@@ppmtv-qh9qk thank you sir.. now i can buy it with peace. 😊

Do report back - always good to get feedback on how things go. Ta like,ppm6.

@@ppmtv-qh9qk yes sir... God bless u 🙏

Hi Timothy - I agree that the MK4 is a great sounding mic and a little overlooked. I often wonder about the transformer business because when I bought the 414 ULS the more expensive option was the TLS - the transformerless version... I think there is a YT video somewhere with all the 414s compared. Any way thanks for dropping by. Ta like, ppm6.

Thank David - and thanks for the reminder of the A! which I clean forgot. The Jim Williams mod was replacing capacitors on the circuit board but when I looked at mine they seemed to have a varnish or sealant over them which made me reluctant to try. I'm still on the look out for an M5 as I have heard good things about them. Thanks for dropping by. ppm6.

Thanks for stopping by. That's a really interesting take on the Bluelines! And high praise when you have Schoeps in your kit! I'm guessing yours are made in Austria - I have a couple of later bodies and the finish isn't as good. I also have some of the personal mics but haven't used them in many a year. Must give them a try! Do you make much use of the omnis in your symphonic gigs? Ta like, ppm6.

Hi Scoot, I'm sorry to hear that and it is a very fair point. With cheaper mics you might just accept that repair isn't a viable option but that's not the case with Gefell. I hope you get your M300 back soon. Can I ask was it a part failure in the mic itself? Ta like, ppm6.

@@ppmtv-qh9qk not sure - I was getting a HF ‘whine’ sound, no matter what gear I used it with and whichever space I was in. I’ve only been waiting 2 months, and I think it JUST recently made it to Germany. But I’ve been told by Gefell it will take no less than 6 months

I asked John at Sound-Link the UK distributors and he said service could be slow. From the US they aggregate repairs to minimise customs costs etc and that process takes time. I hope you get the M300 back soon, it is a mic that is hard to be without. Very, very good indeed. Ta like, ppm6.

I only want the manufacturer repairing high end mics. As a matter of fact I have MG M20 capsules I have to send to them.

@@miwa9569 The problem is that no one else will work on them. I called many places, asked for recs on 6 different forums... no one is willing to touch them (at least the SDC's).

Thanks David. I arrived too late at the Beeb for the classic valve mics and I'm wary now, one because of cost and two because of valve life and condition when bought second hand. You jump first and let me know how it goes! Ta like, ppm6.

Well that's a good question... First, do tell what is a voice mic? Second My voice is an instrument. Third I've never bought the instrument/voice distinction. Is the 451 and instrument mic or a voice mic, or the 201 or the Schoeps MK4, or the Sennheiser MKH40.... I think the distinction is strongest in music studios where generally vocals are recorded with LDCs and instruments are often recorded with SDCs, but even there the distinction is easily blurs. U87s for overheads. 414 on vocals and guitar cabs. Actually 414s and SM57s for guitar cabs. Location speech mics are almost universally SDCs. Ta like, ppm6.

Thanks for dropping by - one of the great joys of broadcast engineering is being able to utter the immortal phrase - 'It's all right leaving me.' You may pick up the gentle breeze of the PC fan but as far as terrible mains buzz goes - It's all right leaving me. Ta like, ppm6.