當然全指向也不是 360° 無死角，看了下 mkh 8020 的圖，頻率越高，有效範圍就越集中於前方，中低頻大體上是一箇圓，高頻就有點像心型了。
Omni mics are often used for picking up ambient sounds, as well as miking a large sound source such as a choir in a recording situation.
Sennheiser 的 mkh 80xx 系列，8020 是全指向，8040 是心型，8050 是超心型，8090 是寬心型。8060 是長一點的，超心型。它們之間的比較：
However this MKH8090 is a a little magic: it's still a cardioid mic but because of its omni characteristics its less sensitive to the wind and handling noise. I use it in the OTRF Rycote basket and comparing to my MKH8040 it has same natural and silky sound but even with smoother central image (speaking film sound). I would recommend it for anyone aiming to record quite and not only background, sfx and foleys instead of MKH 8040. It has the same noise floor and frequency response. ⤴
Ambience recordings from the 8040 often tend to sound more like dual-channel recordings that lack of a well-defined mid signal. ⤴
可能因爲是寬心型，中心聲場定位比 8040 明顯一些。
The 8020 often just sound “big” which is impressive on the first listening but often don’t give me what I need. They deliver a huge cloud of the sounds that are surrounding me but, all in all, the image isn’t well defined. Also, the low end of the MKH 8020 is sometimes very hard to control. Of course, I could apply the Sound Devices’ low cut filters but this doesn’t really affect the pick-up pattern which stays more or less omni-directional. ⤴
而 8020 提供了很宏大的聲場，但聲音不能被很好地定位。而且低頻難以控制。但是這一系列的素質都非常好：
their resistance against humidity and coldness, as well as their high output level. I can achieve nearly noise-free recordings even with the Sound Devices pre-amp cranked to 61.7 dB. I tested other mics under this circumstances and they failed on many points.
不怕潮溼寒冷，底噪非常低。我看官方數據，A level 只有 10 dB。而 DPA 2006 是 16，4006 是 15。
I have a pair of DPA 2006Cs and am reasonably happy with them, but they're not quite as versatile as I'd hoped.
Be warned if you're looking to make field recordings in very quiet surroundings, like wilderness areas, mountain, moorland etc. DPA claim an A-weighted self-noise of 16dB, but also note a maximum level of 18dBA. I found it intrusive recently when recording in the Scottish Highlands, to the point that I only used the recordings made with an AT BP4025 single-point stereo mic taken along as backup.
If you can afford the Sennheisers, why not go for them instead? I would have done so if I'd had the money, not getting them was maybe a false economy. Otherwise the Neumann KM183 might be worth considering. It's just under 11cm long, which is fairly compact. ⤴
The DPA 2006C mics I’d been using proved too noisy, even at 16dBA, for very quiet environments such as moorland, marshland, and the insides of buildings when not a lot’s going on.
有誇 2006 的。但最大的問題是如果要在非常安靜的情況下錄環境聲，底噪會很明顯，比 BP4025 大。還有說有這箇錢爲何不買森海⋯⋯
The question remains as to whether it’s worth spending all that money just to save 6dB of noise over the DPA 2006Cs, which are otherwise very good mics. Perhaps the overall gain should be set lower to begin with and then the mic noise won’t be noticeable.
它們的差距或許就在這 6dB 的底噪上。這篇 很値得推薦。
I mean, wisely invested a pile of money in a pair of Sennheiser MKH 8020 mics. They’re low-noise (10dBA), high-quality mics and at just three inches long are ideal for headworn use as well placing on each side of a homemade acoustic baffle like the Block. ⤴
has a very honest, neutral sound
The best omni's I have found are the Sennheiser MKH8020, and the Josephson C617 SET. The popular DPA, Schoeps, and Neumann microphones all seem to have an unnatural sheen to which I am particularly sensitive. ⤴
相比之下，簡直對 8020 各種誇。但也有說問題的：
I really dislike the 8020. I have a pair and they are used probably only a couple times per year. They are dark and murky and bordering on muddy in a lot of situations. I purchased them expecting something closer to the 20 or 80/800. Unfortunately, they aren't even close. ⤴
The 8020 goes right down to 10Hz, which is why some people may think it's “dark”, so be careful with rumble; but it should pick up all the lower register of the piano beautifully.
It is a fantastic mic and not a dark sound as some have claimed (they must have been comparing it to a bright Chinese mic).
這一系列是專門用於樂器拾音的微型全指向樂器麥克風。看官方數據，A 底噪達到驚人的 23dB，看來太小也是有弊端的。
@Michèle Peron Amazing soundscape at the „Oktoberfest „ in Munich. Recording with two DPAs 4060 tied up on my shoulders, excellent setup for standing in beer tents full of singing& drinking people
but if small mic size is not important to you, then consider the less expensive Audio Technica AT4022 omni mic. Vicki Powys has tested these, I think, and rates them.
This microphone is truly wonderful, and -by far- the most transparent omni microphone in it's price-point. Let me begin by saying this: I'm a classical recording engineer whose projects often include “industry standard” microphones. I've been blessed with the opportunity to use some very sought-after mics, by names like DPA, Schoeps, Earthworks, Neumann, AKG, etc. My projects are almost always tracked @24bit/96khz, and my signal chain is as pristine as it can be with the money that I am able to spend on it. Needless to say, my main concern is transparency.This microphone is as transparent as it's gonna get… In fact, I would wager to say that it holds it's own against the “major names” of the industry. Is it a DPA 4006? No. But at 1/6 the price, you can't expect it to be. The AT4022 is a fantastic microphone, especially for those who are looking to record classical music. Get a pair of these, a nice preamp, good A/D converters, and you're setup for success. Your recording will sound very (and I mean very) close to the original source. Try as you might, you won't find another microphone with this low of a noise floor, and this accurate of a response, at this low of a price. ⤴
看起來很誘人！！在 這 看到底噪是 13dB。
I think you will be quite surprised at just how good those omnis are. good luck. ⤴
——how do the AT4022 stack up against the MKH8020s?
——I'd say they are very similar in terms of sound quality / self-noise in real world field recording conditions. The MKH are smaller and have been built to handle humidity better (but I found a trick to alleviate humidity problems with the AT mics too).
@Magnus Bergsson AT4022 is a great mic for silence nature recordings. But MKH20 have much better musical sound quality, especially at low freq
There are many positive reviews of the at4021, check out Mike Jasper's article in Tape Op 2009. Most of the positive comments also apply to the at4022 (the omni version of the at4021). I record acoustic music only, and I need to record the natural sound, as clear and detailed as possible. For my purposes the at4022 is my go-to mic for an sd omni. In addition to recording soloists or pairs, I sometimes record larger groups, and here again, the at4022 excels. One reason I like this mic so much, is that I have had excellent results close micing instruments (avoiding proximity effect), but equally good results when positioned well back. ⤴
The Free Space Pro II comes with two matched, integrated DPA 4060 capsules mounted at the opening of the ear canal.
裏面塞的是一對 DPA 4060。
現在組合好的 ORTF 麥克風，似乎只有 Schoeps MSTC 64U 和舒伯樂 superlux s502。
神奇的是Superlux S502几乎就是MSTC 64U的翻版……据说以前是Schoeps的代工，然鹅价格相差巨大……是因为专利垄断还是别的什么原因？
Superlux S502 在研发的时候给我发过样音，听起来好像确实很难分辨 ⤴
I tested it. Much better sound that I what I was expecting. I did not perform any direct comparison but I think that it is better than the usual 300€/$-a-pair candidates like Oktava MK-012 and Rode NT5 when used in the same ORTF configuration.
No one felt Superlux is better compared with Schoeps in my experience. Most people don't feel obvious difference when testing under ordinary environment. Difference become apparent when background noise is very low.
When they know the price, everyone was shock. Either this one is too low, or the other one is too high. ⤴
如 @汤伟彬 所说，大振膜底噪低，小振膜高频响应好是最主要的区别，当然小到一定程度，空气腔体的赫姆霍兹谐振成为限制高频带宽的瓶颈。除此以外，小振膜一般对机械噪声的抑制比较好，比如笔记本的硬盘噪声、键盘噪声等等。
新聞聯播用的是 Schoeps CCM 4 系列，有可能是 CCM 4 UG。
I couldn't be happier with it. It's really light, small and it sounds big. It sounds like a more refine version MKH416. Small footprint was a key factor for me - I needed something small to go with my more portable M/S setup - and it did work out nicely. It's quite crisp in the higher mids (kinda like MKH416 but less harsh) ⤴
The first rule of CONTACT MIC club 〔有關接觸式麥克風的〕
10 Microphone Placement Techniques for Acoustic Guitar 這裏介紹了 10 種錄音制式。
這人在 ORTF 中間加了一個全指向：
I'm sure this has been done before, but I just did a quick test with an ORTF rig plus an omni mic centered between them and was very happy with the results. ⋯⋯I used a pair of line audio CM3s for the ORTF setup, and a Schoeps CMC6 MK2 omni for the center. ⋯⋯What I found was that the addition of the omni tended to push the image a little more center, and it added tons of information in the middle that now feels missing with a straight ortf setup. It also (of course) greatly contributed to the low end. ⤴
What you are really getting is a closely spaced ab pair with perhaps a touch more separation in the high frequencies. Which can sound good if done right. You are getting a nice sound with a very narrow sound field as if recorded at a distance. I suppose that found be useful for some types of ensembles or instruments. Though for orchestra a bit more separation would be my preference. It is not something I would really think of trying. The narrowest I have used ab spacing is about 30cm ⤴
There is a very slight but discernable difference, with the angled sound being more spacious when listening through headphones.
SASS：這箇 網葉 是官網。雖然已經歇菜了。
這種制式是 Günther Theile 發明的，‘a former chairman of the “Institut für Rundfunktechnik” in Munich’.
這箇網葉是錄音機 底噪、動態範圍一覽。我們的 Sound Devices 的底噪是最低的，只有 -130dBu，確實令人驚嘆。而頂級錄音筆索尼大法 D100 則是 -127dBu，也很不錯了。另外很火的 Zoom H5，-121dBu，差距有點大了。
I never tested this on the Zoom F8. But I bet you the F8 and MixPre-3 will be very close. Both devices have very good audio quality. To be honest, it matters much more which mics you use and how you place them. In practice it will be impossible to tell the sound of a MixPre-3 or an F8 appart. In my opinion, things like usability, form factor and features are the deciding factors between these two devices.
看來 Mixpre3 和 zoom f8 底噪近似，最主要的是人機工程。不得不說，mixpre 用起來非常舒服。
Mixpre II 最近上市了，一箇亮點是 32bit，其實上半年 Zoom 新品也出了 32 bit，不知道他們是不是被 Zoom 刺激了。
From what I have been able to gather, none of these machines actually use 32-bit floating point converters. They use several 24-bit integer converters at different gain levels and then the data is combined and converted to 32-bit float. So I guess it will depend on the implementation to some extent. Sound Devices patented their method, I think, so it will likely be different in other brand's recorders. ⤴
似乎是「假」32bit，是用的數箇 24bit 音軌整合成一箇 32bit 的，所以不會爆音。
有哪些値得推荐的录音笔？姜翛嶰 zoom h4n, TASCAM dr100,ROLAND R26都是我推荐给在校学生完成学生同期声录音作业的录音机，许多同期声录音师也都会拿他们在现场采集一些环境声，价格爷在2k左右，非常实用了。同级别我只推荐他们。看有朋友提到sony d50那玩意还是听歌比较好。tascam倒是一块非常棒的录音机，特别是同价位下他的话放非常好，接416之类的话筒完全没有任何问题。听歌也是利器之一，只是待电方面略显不足。如果题主仅仅是用内置麦的话问题不大。罗兰的相对中规中矩，在时码上可能会有点问题，录音时间长了一会会存在声音与画面对不上的问题，如果不用做同期声录制也没什么太大影响
我使用过的那些录音机 2013 秊的帖子，很有年代感，那時候一箇 R44 要七千塊⋯⋯
對錄音師 Stephan Marche 的採訪：
So, the most inspiring part of being a field recordist is to go out and listen carefully before opening the equipment bags at all. What “normal” people mainly perceive with their eyes, a recordist needs to anticipate from his experience and dedication to the thrilling and often mysterious world of sound. You need to be open-minded and creative, always ready to go outside when other people are sitting behind their warm stove. You must be willing to walk along forbidden paths or to climb down to dark caves or canyons. It is also important to be highly flexible in terms of time management. As we are often recording random events that cannot be controlled by ourselves, we have to be patient on one side but act quickly on the other side.
For instance, I remember my recording sessions for the Wind Turbines library – a project that was strongly depending on external conditions. I could only record through the nights or on early Sunday mornings because at these times I didn’t have to be concerned about disturbing airplane or traffic noise. Also, birds and insects turned out to be a problem. I really like the dawn orchestra but in this case I almost got sick of their twittering. I had to wipe many files from the recorded raw material due to unwanted side noises I could not prevent. So it was me who had to adapt to the general circumstances. I really like these challenges because this demonstrates the tininess of a single person in contrast to the entire environment – no matter if is natural or man-made.
He made the point that fledgling recordists often produce work where the levels are too high, rather than expecting listeners to adapt to lower volumes. This is a mistake I make from time to time and it’s a good principle to be reminded of: let quiet sounds be quiet.