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Superlux 502?

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Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 9:21 am

I am thinking of ordering one, but I have read a lot of complaints about them as early ones had problems. I will be using it to record a few pipe organs, I know they are not omni's, but was looking for a "1 mic solution". I have in the past used a Zoom H2, using the in built mics, and on replay, using a decent BK sub, so the captured bass is not all lost. What are your collective thoughts on this mic, using it, instead of the normal omni's?
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Re: Superlux 502?

Postby Hugh Robjohns » Wed Aug 12, 2020 10:12 am

In what way do you feel the H2's own mics are lacking?
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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 10:33 am

Not lacking per se, but as I had the Zoom from its earliest release, I thought that the much newer model of the Superlux may be a big improvement, sound wise. I have the newer H4 Pro now, and as it has XLR's fitted, maybe it may be a better way to go. I just do this on a purely hobbyist level
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Re: Superlux 502?

Postby Alba » Wed Aug 12, 2020 11:27 am

Just to chip in and say I recently bought an H4n and am amazed at the quality of the on-board mics. Never tried the Superlux mic though. For comparison I do have an AT822 stereo mic and plugging that into the H4n and bypassing the on-board mics (so using the same preamp) the H4n is slightly different in character (as would be expected) but i wouldn't say there's a better or worse particularly. I was blown out by the sound of the H4n.
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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 11:35 am

The Zoom H4N Pro is a decent recorder, for the money and what I use it for (100% pipe organ concerts, always with permission to record) The few recordings I have done with it have come out OK. I was just wondering if using the S 502 would yield a better sound, ORTF as opposed to the XY of the Zoom
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Re: Superlux 502?

Postby Hugh Robjohns » Wed Aug 12, 2020 12:26 pm

butcherpete wrote:I was just wondering if using the S 502 would yield a better sound, ORTF as opposed to the XY of the Zoom

The ORTF array, because it introduces timing difference between channels as well as the level differences generated by the XY technique, tends to sound more spacious and natural, albeit with slightly less precision in stereo imaging.

However, if you're going down the external mic route, and your source is predominantly pipe organs, then using spaced omnis is probably going to yield even better results, especially when it comes to capturing the low end grunt of a big organ.
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Re: Superlux 502?

Postby Arpangel » Wed Aug 12, 2020 1:06 pm

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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 1:32 pm

I am getting the Manfrotto one, saw that a few months ago. Also a friend has a hydraulic one that goes to a silly height (over 7 meters) that I can borrow if I get really stuck and cannot "fly" the mic
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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 1:35 pm

Hugh Robjohns wrote:
butcherpete wrote:I was just wondering if using the S 502 would yield a better sound, ORTF as opposed to the XY of the Zoom

The ORTF array, because it introduces timing difference between channels as well as the level differences generated by the XY technique, tends to sound more spacious and natural, albeit with slightly less precision in stereo imaging.

However, if you're going down the external mic route, and your source is predominantly pipe organs, then using spaced omnis is probably going to yield even better results, especially when it comes to capturing the low end grunt of a big organ.
I will experiment I reckon... I remember your "Soundfield" mic piece, well at least I think it was you, it was a while ago :D
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Re: Superlux 502?

Postby Hugh Robjohns » Wed Aug 12, 2020 2:37 pm

Arpangel wrote:Just a thought, for pipe organs budget for a decent stand, you’ll need a high one too, in my experience.

I'm always a bit wary of going too high.

All of the organ voicers I've watched seem to assess their work while standing on the floor or sitting in a pew. I've not seen any so far who can levitate at 7 metres.... :lol:

I'm a big fan of the Manfrotto stands and I now mostly use the Manfrotto 1004BAC master stand which goes up to 3.6m. That covers all my choral and orchestral needs easily, and is more than adequate for organ recordings too. and the very nice thing is that you can clip three (or more?) of them together for easy carrying and storage. You can also add 1m extension poles if you really need more height, as well as counterbalanced boom arms.

https://www.thomann.de/gb/manfrotto_1004bac_124366_cm_black.htm

Recording organs can be quite challenging, particularly if there are multiple lofts in different locations, but I find the biggest issue is almost always getting a uniform bass response, especially when using spaced mic arrays. Very low frequencies mean long wavelengths and big standing waves in heavy stone buildings!
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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 2:44 pm

Hugh Robjohns wrote:
Arpangel wrote:Just a thought, for pipe organs budget for a decent stand, you’ll need a high one too, in my experience.

I'm always a bit wary of going too high.

All of the organ voicers I've watched seem to assess their work while standing on the floor or sitting in a pew. I've not seen any so far who can levitate at 7 metres.... :lol:

I'm a big fan of the Manfrotto stands and I now mostly use the Manfrotto 1004BAC master stand which goes up to 3.6m. That covers all my choral and orchestral needs easily, and is more than adequate for organ recordings too. and the very nice thing is that you can clip three (or more?) of them together for easy carrying and storage. You can also add 1m extension poles if you really need more height, as well as counterbalanced boom arms.

https://www.thomann.de/gb/manfrotto_1004bac_124366_cm_black.htm

Recording organs can be quite challenging, particularly if there are multiple lofts in different locations, but I find the biggest issue is almost always getting a uniform bass response, especially when using spaced mic arrays. Very low frequencies mean long wavelengths and big standing waves in heavy stone buildings!
there is a photo somewhere of a massive stand in the French church atSt Ouen. But I agree that he voicers voice an organ to be heard at ear level, one place I have recorded in a lot Is Durham Cathedral, and the massive black and white marble floor tiles in the choir can reflect the sound quite a lot, unless using old Tandy (80's model) PZM's
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Re: Superlux 502?

Postby The Elf » Wed Aug 12, 2020 6:52 pm

I like my 502. I only use it for live audience reaction recordings, but it has a nice stereo 'solidity' to it that is very credible.

As to whether it's the right solution for the job you have is another matter, but I certainly haven't experienced any problems with mine.
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Re: Superlux 502?

Postby butcherpete » Wed Aug 12, 2020 11:03 pm

The Elf wrote:I like my 502. I only use it for live audience reaction recordings, but it has a nice stereo 'solidity' to it that is very credible.

As to whether it's the right solution for the job you have is another matter, but I certainly haven't experienced any problems with mine.
Many thanks
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