Hi Plush,

Yes, the Rens mods to the DPA 4006a seems very appealing indeed. I have been reluctant so far to try it myself, because I could not find any pre/after sound files... I would very much like to hear the difference it makes before having them modded. There is probably no way to go back to the oriiginal state, I guess...

Yes, I too, really like the Neumann U-89. My favorite Neumann mic.

As far as my language in my former post, I am referring to the classic Neumann sound found in so many of their mics. Certainly the U-89 is the exception with its ruler flat, natural sound.

Some Beethoven (brass players were using historical instruments), recorded with the 50mm APEs (4006TL Decca Tree). Outriggers were the compact version (DPA 4052) without spheres.

The tree was flying above the orchestra, not in front!

Best regards, Dirk (another one )

Hello Lucas,

I give the Rens mod my highest recommendation. The mod gives you noticeable better bass which now has detail and more definition than the stock units. The real beauty part is that the treble is now very appealing after the mod. It is very extended and has a high "pleasant-ness quotient." Gone are spiky stabs of high end.

I have already qualified the mod for you.

The work Rens does makes the mic not just different but in ALL ways a better microphone.

Rens installs his own circuit board with his own electronics. If you don't like the mod, he could just re-install the original DPA (B&K) circuit board.

Hello Plush
Is this a replacement 48v phantom board with standard XLR you are referring to, or a 60v separate power 4 pin board and connector.

Hello David,

My experience is with the 60 volt circuit board. I have not heard the Rens 48 volt mod.

Thanks Plush,

I think I just must take the jump then!

i do not have experience with u89, but I could achieve a specially pleasant sound from violin with tlm170 that i would not have scored with my 4006 e.g.

in my last sessions, I combined the tlm170s with gefell m221. a very tasty combination.

U89 and TLM170 = pretty much joined at the hip, if you check these 3 comments:
All Aspects of Neumann Products - Splitting hairs between the U89,TLM 170 and TLM193

All three uses the basic same capsules, except TLM193 only has front side diaphragm active. The back side is just a dummy plastic diaphragm with tuned acoustic property. U89 has output transformer.

I really fully enjoy Schoeps MK2 with Hens Reijnis mode ... With Forssell SMP-2/MADA-2 I can't imagine anything better for recording delicate acoustic instruments.

One interesting thing: there is always some tiny spike around 23-25 kHz (around minus 10 dB) visible on the EQ when using the moded mics ... (of course, not audible

If you would not mind, I would share the latest recording made on the above mentioned combo just few days ago

Happy new year !

wonderful sound! Thanks for sharing!

Stunning Ivo and Pavel.

Incidentally, I use Terra from Inner Spaces as a frequent demo on my main system.

Hi David ! Thank you and maybe see you again in Brisbane in the beginning of September ... (we will be in Australia again in August)

Excellent. I hope we have a bit more time. I have really sorted out my monitoring now.

After all the years I finally tried schoeps mk 2 and I´m in love.
Basically there´s nothing I would not record with this mic - maybe except vocals,
where I prefer mk 4.

Should you be interested, here is another example of Schoeps MK2 with Rens Heijnis mode (used on the handpan). Here for the first time I used the new Samar wonderful mics - LDC Omni8 Audio TF08. Wonderful for violin, I prefer them to Schoeps for this instrument Omni8 Audio - TF08 (you can hear them in the second part of the video on violin)

Preamp Forssell SMP-2, MADA-2 convertor, for vocals Neumann U47 + BAE 1073

Another lovely piece with striking and evocative video. Thank you for posting it. The Samar Omni8 does indeed sound good on your violin. Question: how does Pavel sync his playing in the video to the studio recording? Is his timing naturally perfect or is he perhaps listening on ear buds under his toque? (I hope I am not asking you to give away any family 'secrets')

It was recorded in the studio and when shooting the video, it was played in the Bang Olufsen Beoplay bluetooth speaker in the location

To resurrect and hijack this thread, what did you make of this?

"Johnson: No. Remember, I mentioned using extra microphones to extend the apparent acoustical space? That's how I made that auditorium sound like a big hall, by locating several delay microphones to build on the delays between the wavefronts reaching those microphones. The placements set up delay-phase interference from ear to ear to simulate rear-hall sound.

Holt: I still don't really understand that, but let it pass."

I've been looking for a breakdown of Keith johnson's technique as I've enjoyed his recordings, including the Rachmaninoff mentioned above and the many Dallas Wind Synphony albums.