Tx Voltronic for the pics! Also, here's a photo of the CMEH card in case someone lost theirs, summing things up:

JP, that info card is great!

One thing I especially like is that in the "good" photo, the cable is tied off below the shockmount, not on it. While the clips built into Rycote INV mounts are a nice feature, I never use them because I don't want any cable-borne vibrations to even get to the shockmount base.

Yet.
I use the DAP shockmounts often for CM3/CM4/OM1 in live chambermusic-, choir- and orchestral-recordings. They never failed me. I rarely use my Lineaudio or Rycote mounts.

Peter.

For the curious :-)

CM4 = 1a PianoDuo / 2b Str4Tet / 3b Harp

CMC 621 = 1b PianoDuo / 2a Str4Tet / 3a Harp

Peter.

True, true, and I realized that on my photo you don't see the boom where the cable sits on the boom/stand cable clamp... I just suck at photos! But the card by Roger has been a great reference for sure, however I think some users, I don't blame them because I'm guilty of doing the same, throw away packaging and user guides way too fast and get to play with the new gear right away. Last thing: cable borne interference will be more problematic with the Omni1 and its extended LF so cable management will be a must.

Thank you JP for including that CMEH card/photo....the first picture with the small loop shows exactly what I wanted to convey about 'correct cable dress' in my post above !

Another area of significance is that the thinner and more compliant/bendy/ flexible the mic cable....the less vibration is going to be transmitted to the mic holder and microphone (hence those thin 'mouse tail' segments Rycote use in their blimp Conn-boxes)

I use one similar to the DAP : https://www.artistguitars.com.au/buy...ount-New/13744 but only with those heavier SD mics such as the Rode NT5. I prefer to use more 'supportive and compliant' mounts (links below) with the Line Audio mics, due to their (the mics) significantly lower mass.

A couple of alternatives:
https://www.soundtown.com.au/product...on-shock-mount

http://www.rode.com/accessories/sm4

....but you really want one with the lightweight lyres (available as aftermarket purchase) for the Line Audio mics, as voltronic detailed in post 288 above.

Yup, for best iso it's best to experiment with a cable "loop". Also, avoid the "fancy" mic cables that are super thick and rigid.

I make loop and attach it to the stand under the microphone holder
Like a lav microphone, watch from 2:50
https://youtu.be/D85HmR825wM

Does someone has examples of CM4 used for recording pipe organ?

Hi i was looking at the Rode NT55's
Now reading a lot about the Line audio CM4.
Is there a price range alternative for the CM4 stereo pair or should i grab these?
I was looking at RODES NT55 and the AKG Blueline.
Field recording, orchestras, music and film live setups etc, nature.
The CM4 look like a great all round mic.
I am wanting a pro sound.
I could hear a difference the Schoepps mic sounding nicer to me, but for the price the CM4 look like a winner.
thanks

Se8 could be as well an alternative for you...

Same boat. I definitely hear that Shoeps sound better but also out of my price range. Much less in it sound-wise than money-wise though so I bought a pair of CM4. I haven’t been disappointed.

CM4s seem impossible to get right now.

Ktwalker - I own several schoeps, neumanns, dpas, sennys, etc, and I use the line audio CM4s all the time as piano and wind spots. The CM4s are by far the best mics you can get for anywhere near that cost. My advice is buy them. JPGerard is about as good as it gets for customer support. The CM4s in NOS will capture a beautiful natural sound for you.

Impossible, no. Waiting lists are in place meaning 1-4 weeks of patience.

I think that the most important thing to look at when you debate whether to buy these CM4s or not is mostly specs. They're very linear mics and they're not flattering at all, in fact they might sound a bit dull or boring, but that's what EQ and processing is for. They're moderately low noise (not the lowest, but workable) and they're moderately sensitive (not the most sensitive, but not weak either) so they will take some EQ all right if you don't overdo it (and if you have good, clean preamps). They have smooth pickup patterns (a slightly large cardioid pattern) and no obvious peaks and dips, and they can take decent SPLs (so they're fine on overheads, maybe even hihat, I wouldn't put them under a snare though or in front of an amp). And compared to most of the microphones I've heard in their price range, they're not harsh or brittle so they don't need that much processing to sound OK. The Schoeps mics might take higher SPLs, be a bit more consistent or have more flattering frequency response but they cost five-six times as much, so I think that if you already have a pair of those mics you really don't need the CM4s except for backup mics or for utility purposes, but really, these days, €250 takes you a really long distance.

If anyone is concerned about ordering, I got word from JP that my CM4s were ready and paid on Dec 9. I paid a little extra for DHL shipping and my mics arriced Dec 18. JP was very helpful throughout and provided excellent customer sevice. Just tried the mics tonight and they sound great on mandolin.

Glad to hear they traveled fast, Happy Holidays!

Currently evaluating the CM4 for my Ludwig LM402 snare.
I was kind of disappointed with everything I have thrown at it over the years including M201, SM57 and, alas...the MD441. The question is, will it take the SPL?

Yes, I very much doubt that your snare generates more than 135dB SPL even up close - do let us know if you can measure clipping (at the mic, not the following mic pre!).

Just a quick FYI: current mics from Line Audio now ship with a K&M clamp instead of the Taiwanese one. No change in price.

I really like whatever mine were shipped with. It’s the rubbery-vinyl one, like a Beyer, but with a universal connector that accepts both US and Euro threads.

Is the K&M similar in features?

It's basically the original - the Taiwanese was a copy of this K&M clamp... The K&M will have less thread cut issues, which were common with the Taiwanese copy.

Hello everybody,

Here is a very informal comparison between the CM4 and a Neumann KM140 with me playing acoustic guitar at about 18 inches with the mic pointed between the 15-17 fret. I did my best to maintain the same parameters for each microphone but was not scientific. Also, the microphones required different gain settings to achieve the same level and i did my best to match the level by ear and then normalized the audio during my bounce from logic. Anyways, These were recorded in a Chroma on the A setting with the color on with the massdrivr in the slot. They were recorded into a Presonus firestudio at 96 khz in logic. The room was just a small square bedroom and untreated. I had to export as the highest quality mp3 due to the file size. (Is there a way to upload larger .wav's here?). Anyways let me know which one you prefer and why and take a guess for which is which..

I’m guessing A is the line audio - it’s more flat and natural.

#metoo

I also prefer A...it's got a 'relaxed yet natural' presentation that B lacks.

B is more 'hi-fi, audiophile, revealing'... in a heightened-detail sense, with perhaps faster transient capture...but A has the more balanced, rounded and appealing sound !

I hope A is the CM4...as its more accessible in many ways

Keep em' coming. I reveal in a couple days once I get a few more responses or not.

I don't own any of the mics, but based on other recordings that I've listened, I'd also say that B sounds like the Neumanns.