Name: LINE Audio CM3 vs. Sennheiser MKH 8040 Roomtone by Andreas Usenbenz in Line Audio CM3
Duration: 1 min 3 s
Description: I tested my loved CM3 against my new MKH 8040 . I think the Test speaks for itself...

I guess the first one is CM3 and the second quieter one is mkh 8040. Am I right?

Ok - yeah...honestly the 8040 are much quieter.... at least it's good to know....and start saving LOL

While the self noise is much quieter for the MKH8040s, it sounds like the left CM3 is picking up a different sound that the left 8040 isn't, or maybe it's faulty?  Were these both matched pairs?

Line Audio CM3 Testshots
http://www.lineaudio.se/CM3.html

Buy these Mics

Line Audio CM3

CoreFiling Wind

Buy Nature Roomtones

AMB40 Nature Roomtones: Wetlands

Location: Hinksey Meadows, Dean's Ham, Oxford, UK
Recorder: Sony PCM-A10, Olympus LS-5
Microphone: Custom 8 capsule rig (4 + 4 Clippy EM272 capsules wired in parallel), JrF C-series contact microphones, JrF electromagnetic coil pick-ups
Stereo technique: Baffled omnis (foam baffles on stereo bar)

Pylon

Trees creaking and leaves fluttering in roaring winter wind

Trees Creaking in Roaring Winter Wind

Marja Ahti, a musician and composer living and working in Turku, Finland. Working with field recordings and other acoustic sound material combined with electronics and feedback, she investigates the borderland where the sounds mirror each other or communicate. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations and is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective.

Marja Ahti [Reste à la fin, les cendres  Curated by Mari] [31.01.2022]

I tested my loved CM3 against my new MKH 8040 . I think the Test speaks for itself...

LINE Audio CM3 vs. Sennheiser MKH 8040 Roomtone

Some Recordings made with Line Audio CM 3

Amb Night Forrest Wind Gusts Rustling Shutter On Open Window

Train Diesel Single Pass By Behind Concrete Wall

Weihnachtsmarkt Ulm 131129 09

Train Pass By Close Perspective

Train Pass By Under Bridge CM3

Ringing Rocks has the chiming, beautiful tones of an ancient boulder field. As hammers strike stone, the powerful clangs resonate like church bells and bring to life a natural sonic wonder. Plus, you receive many types of melodic tones, hammering rhythms, grinding metallic stone, resonant scrapes, and much more. If you need rocks unlike any you’ve heard before, listen to Ringing Rocks.

Purchase Here: https://thomasrexbeverly.com/products/ringing-rocks-musical-rock-sound-effects-library
Read how I recorded the strange sounds of Ringing Rocks on the A Sound Effect Blog: http://www.asoundeffect.com/ringing-rocks-sounds/

Demo Notes: 

• No processing was done to the rock samples other than warping and quantizing the strikes to the grid from 0:55 to 1:41 in Ableton Live so they would fit nicely with the tempo. 

Key Features:

• 237 files, 500+ natural chime and bell-like rock sounds
• Hammers: small hammer, medium sledgehammer, and crowbar
• Single strikes
• Variation strikes with many sequential hits all in one audio file
• Resonant scraping of hammers on rock for rich tactile textures
• Major third, minor third, half step and other naturally occurring melodic motives generated by “playing” the rocks with multiple hammers
• Strikes include frequencies up to 60 kHz 
• Rocks with a strong fundamental pitch include the closest equal temperament note in the metadata
• Bb’s ,Db’s, and Gb's are common throughout the boulder field
• Unpitched and complex pitch descriptors also included in metadata
• Audio files labeled by parent rock numbers: 1-31 to easily find samples with similar harmonic content but played with different implements
• Can be sorted by rock numbers, hammer type, and strike/scrap
• Location: Near Upper Black Eddy, Pennsylvania. 

Gear Used: 
Sennheiser MKH 50/30 MS pair
MS recordings decoded
Sound Devices 702
Rycote AG MS Blimp

Buy Ringing Rocks SFX

SD02 Ringing Rocks

Lahemaa National Park, Estonia, 12.04.2018.

www.bemtevi.de

if you want to support my work: ko-fi.com/bemtevi

Silence (Estonian Forest)

first part of OBLIVION of 3/4HADBEENELIMINATED
(Die-Schactel 2010)

TONY ARRABBITO drums
STEFANO PILIA guitar, dbass, electronics
CLAUDIO ROCCHETTI electronics
VALERIO TRICOLI voice, revox, electronics

"OBLIVION" first part by 3/4HBE

The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.

The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.

The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.

Out on Hallow Ground May 8, 2020

Composition, production, mixing: Marja Ahti
Voice: Johanna Kalliokulju
Mastered by Giuseppe Ielasi
Cover artwork by Niko Karlsson and design by Juri Puhakka

The Altitudes was commissioned by Ina GRM as part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. The work was supported in part by Arts Promotion Centre Finland. Synthesizers recorded at EMS, Stockholm and Ina GRM, Paris. Voice recorded at IAC, Malmö. Field recordings from various locations in Finland, Sweden and Croatia.

Thanks to Olli Aarni, Niko-Matti Ahti, François Bonnet, Jason Dungan, Jonna Karanka, Laura Naukkarinen and Remo Seeland.

The Altitudes (excerpt)

For the last two days, I've been in Erding, southern Germany, for an advertising film shoot. Today I've got the chance to have a long walk with a friend after filming finished. We were moving around the hotel when we passed a GLS dispatch warehouse. All hell was going on here. Trucks came and went, containers were being transported around and I was totally amazed by this soundscape. Unfortunately I didn't have a microphone with me. So I went out again after our walk. Packed with the Zoom F8n and my little M/S kit, consisting of a Sennheiser MKH8040 and the Ambient Emesser 208, I wanted to capture this hustle and bustle.

GLS dispatch warehouse

Andreas Usenbenz is a Film Maker, Sound Editor/Designer, Field recordist and passionated Sound Artist
He is working in a lot of different projects in the area around electronic, ambient, dance, drone, electronica, improv and noise music.

LINE Audio CM3 vs. Sennheiser MKH 8040 Roomtone

Andreas Usenbenz

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