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Miniature microphone with different lens perspectives

Discussion in 'General' started by Stephen_B, Jan 12, 2018.

  1. Stephen_B

    Stephen_B Premium Member

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    I thought I'd take a pic or two of my new DPA miniature omni microphone mounted to a guitar. My first thought was to grab the 35mm f/1.4 lens and experiment with the aperture to get the desired depth of field. I thought that f/2 worked pretty well to keep the microphone grid in sharp focus and diffuse the background.

    Then I really got distracted and experimented with the 56mm f/1.2 and compared it to my old Nikon 50mm f/2 which I'll put further in this thread for comparison.

    35mm f/1.4 at f/2
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  2. Stephen_B

    Stephen_B Premium Member

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    The 56mm f/1.2 at f/2.8 provides a nice perspective as compared to the 35mm.
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    What I found very interesting was the same angle when shot with my old Nikon 50mm f/2 with a like aperture setting of f/2.8.
    Sometimes this old Nikon glass really amazes me.
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    All shots straight out of the camera. To get the best resolution, click on the images to get routed to Flickr.
    Enjoy!
     
  3. Dirk Offringa

    Dirk Offringa Premium Member

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    That's great mic, one of the finest out there on acoustic (My daytime job is being soundengineer...)

    This being said, I'm always amazed by the fact that "old glass" still surprises some for it's optical qualities. There have been centuries in research in optics, really. If "modern" optics give superior results (sometimes!) it's more due to the fact that progress has been made in coating. "Old glass" when properly used (lenshoods, careful angling of the camera in relation to incident light etc), like your exemples perfectly illustrate, can be as capable as modern glass. Modern optics are more forgivable, I'd say. I observe the difference in coating between the two last shots: the Nikon has a bit less contrast which was tro be expected but on the other hand, the OOF transition is very smooth. (Not wanting to divert into already discussed technical issues like the APS-C sensor and it's extra layer of glass on top which does interfere especially at shorter focal-lenghts, let's keep it simple!)
     
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  4. Stephen_B

    Stephen_B Premium Member

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    You're a sound engineer? Hmmmm ... I'd love to pick your brains over a beer sometime.
    I'd been using one of the better Audio-Technica cardioid lavalier mics on a similar boom clipped to the guitar body, and was never satisfied with the sound quality.
    I finally made the move to the DPA 4060 miniature omni and I was totally blown away with the sound quality.
    I know I'll have feedback issues with monitors and such, but in a studio setting, the omni 4060 is very nice.

    As for the Nikon lens vs the Fuji, I just can't get used to the focus-by-wire of the Fuji lens for close work. The creamy smooth manual focus of the old Nikon lens makes dialing in the focus much easier.
     
  5. bralk

    bralk Premium Member

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    The cardioid pattern is frequency dependant and gives an inaccurate frequency response.
     
  6. Stephen_B

    Stephen_B Premium Member

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    Agreed! I assume you're referring to the proximity effect that all cardioids suffer with.
    The beauty of the DPA omni is that the proximity effect is nill, and very little if any EQ or low-cut filtering is required. The resulting sound quality is pristine.
    (Sort of like using your XF16 for a nice landscape shot with little chromatic aberration).

    DPA has a small interference tube instrument microphone for close up applications which I'm tempted to try, (like using a 400mm telephoto in a phone booth), but the resources in my wallet are nearly exhausted.
    .
    If anybody could make a directional microphone sound good up close, it's the folks from Denmark, (Danish Pro Audio).
     
    Last edited: Jan 15, 2018

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