First use of BLUE Lollipop B7 capsule

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"Carey Carlan" <gulfjoe@hotmail.com> skrev i meddelandet

> but the Bosendorfer ended up sounding more like a typical Steinway, as I
> hoped.
>
This is something I get all the time and cant understand? : Especialy from
both pianists and recording company excutives that hear a Bösendorfer for
the first time, "can You make it sound more like a steinway?" : Why the h#ll
did they choose a Bösendorfer in the first place then?

BTW : $110.000 for 9' grand seems pretty steep, comparing to one of the
studios I work for just bought a pristine 1986 Steinway mod D that had
hardly been played for a little bit less then $44.000.. (Not counting the
$5000 the piano tech charged for setting it into perfect working order..)

I'm a bit intrested about the Bottle sound as I've been thinking about
getting a pair of those with the B4 perspex sphere for my own piano
recordings.

Do You have a web-site where one could DL some sound examples?

/ptr


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"plundin" <ptr@musiker.nu> wrote in
news:K6lod.9263$d5.81481@newsb.telia.net:

>
> "Carey Carlan" <gulfjoe@hotmail.com> skrev i meddelandet
>
>> but the Bosendorfer ended up sounding more like a typical Steinway,
>> as I hoped.
>>
> This is something I get all the time and cant understand? : Especialy
> from both pianists and recording company excutives that hear a
> Bösendorfer for the first time, "can You make it sound more like a
> steinway?" : Why the h#ll did they choose a Bösendorfer in the first
> place then?

They didn't choose it. "B" offered the instrument for the recital for
the endorsement value. When the artist sat down, she hit a few notes and
grimaced. We all assured her that it would carry well in the somewhat
dark church acoustics.

Personal opinion: I like the bright high end. It goes with the very
clear very low notes. Overall it is a dynamic instrument.

> BTW : $110.000 for 9' grand seems pretty steep, comparing to one of
> the studios I work for just bought a pristine 1986 Steinway mod D that
> had hardly been played for a little bit less then $44.000.. (Not
> counting the $5000 the piano tech charged for setting it into perfect
> working order..)

I believe that's "MSRP". I don't know if it actually sells for that.

> I'm a bit intrested about the Bottle sound as I've been thinking about
> getting a pair of those with the B4 perspex sphere for my own piano
> recordings.
>
> Do You have a web-site where one could DL some sound examples?

You'd have to ask others about that. I have just the B7 pair.

Archived from groups: rec.audio.pro (More info?)

Carey Carlan <gulfjoe@hotmail.com> wrote:
>
>They didn't choose it. "B" offered the instrument for the recital for
>the endorsement value. When the artist sat down, she hit a few notes and
>grimaced. We all assured her that it would carry well in the somewhat
>dark church acoustics.
>
>Personal opinion: I like the bright high end. It goes with the very
>clear very low notes. Overall it is a dynamic instrument.

It is possible to change the low end at all by completely damping the
strings for the lower notes with some old T-shirts. Don't tell your piano
tech that you did this, but it makes for much more of a Steinway sounding
low end. Unfortunately it makes the top end seem tinkly in comparison.
I suppose that could be felted down, but I'd get a real tech to do that.

>> BTW : $110.000 for 9' grand seems pretty steep, comparing to one of
>> the studios I work for just bought a pristine 1986 Steinway mod D that
>> had hardly been played for a little bit less then $44.000.. (Not
>> counting the $5000 the piano tech charged for setting it into perfect
>> working order..)
>
>I believe that's "MSRP". I don't know if it actually sells for that.

An antique store in Virginia Beach used to have a Bosendorfer baby grand
that had been painted a horrible shade of grey-green with very sloppy
enamel paint work. Paint all over the keys, etc. They wanted $300 and
if I'd had the space for it, I would have bought it. A decade later I
am still kicking myself for having not bought it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

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"Scott Dorsey" <kludge@panix.com> wrote in message
news:cntajo$2nu$1@panix2.panix.com...
SNIP
>
> An antique store in Virginia Beach used to have a Bosendorfer baby grand
> that had been painted a horrible shade of grey-green with very sloppy
> enamel paint work. Paint all over the keys, etc. They wanted $300 and
> if I'd had the space for it, I would have bought it. A decade later I
> am still kicking myself for having not bought it.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

Much more than a decade ago a studio I worked at was going out of business.
I was booked that day and couldn't attend the auction. A perfectly
wonderful recording Steinway grand went for $2000. A Neve 16x8, one of the
first to be brought into the US, went for a little under $5 IIRC. A couple
of 8x4 Neve production boards went for around $2k. And those were just a
few of the bargains. It was a dark day, when I heard the prices later. It
is still a dark day in my memory.

Steve King

Archived from groups: rec.audio.pro (More info?)

Carey:

Thanks to you and Bryson for sharing your impressions with us. I would
love to hear your recording when you have time to edit and post it.

I'm a BLUE Vintage Microphone Shop (which makes the Lollipop) dealer
and have some myself. Since I haven't had a chance to record a great
piano, it would be great to hear yours.

Audy O


Carey Carlan <gulfjoe@hotmail.com> wrote in message news:<Xns95A8C2D768B23gulfjoehotmailcom@207.69.189.191>...
> Had a chance to really audition the BLUE Lollipop capsules I bought on sale
> a while back.
>
> They passed.
>
> Excellent pianist on a brand new Bösendorfer that cost more than my house.
> The piano is bright and the mics are bright, but the combination didn't
> hurt. I recorded low--about 3 feet off the ground, even with the side of
> the piano--to tame some of that brightness, and about 8 feet out from the
> curve of the side. I caught more pedal sounds than I would have liked, but
> the Bosendorfer ended up sounding more like a typical Steinway, as I hoped.
>
> The B7's (BLUE's answer to the AKG C12) made a fine compliment to solo
> piano. Detail was excellent both in the clarity of the percussive note
> strikes and in the gentle fade of the strings into silence.
>
> Recording piano is hard. The dynamic range is intense and you have to
> leave headroom well beyond what your meters show. A quiet room is a
> necessity. This time I was lucky in recording on a miserably rainy, cold
> November day. The audience was tiny. The AC was off. All was quiet.
> This recording is going to stress most playback systems.
>
> Would anyone care to hear a high bitrate MP3 sample?

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Rob Reedijk <reedijk@hera.med.utoronto.ca> wrote in news:cntmbc$ec2$1
@news1.chem.utoronto.ca:

>>>The B7's (BLUE's answer to the AKG C12) made a fine compliment to solo
>>>piano.
>> I believe you mean the B6 the B7 is a darker sounding cap they only
>> make special order. I have the standard B6 and it's bright and airy,
>> and very nice.

Quite possible. I don't have my receipt handy and BLUE's website is not
responding, so I can't verify right now.

It's the one that was on sale back at the end of summer.

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On Tue, 23 Nov 2004 13:17:47 GMT, Carey Carlan <gulfjoe@hotmail.com>
wrote:

>Rob Reedijk <reedijk@hera.med.utoronto.ca> wrote in news:cntmbc$ec2$1
>@news1.chem.utoronto.ca:
>
>>>>The B7's (BLUE's answer to the AKG C12) made a fine compliment to solo
>>>>piano.
>>> I believe you mean the B6 the B7 is a darker sounding cap they only
>>> make special order. I have the standard B6 and it's bright and airy,
>>> and very nice.
>
>Quite possible. I don't have my receipt handy and BLUE's website is not
>responding, so I can't verify right now.
>
>It's the one that was on sale back at the end of summer.

I bought the last one of these they for the Neumann/Gefell M582. I
haven't had much opportunity to use it yet but in comparing it to the
M7 capsule that I also use with this mic, it seemed less detailed and
less airy than the M7. Just a different flavor.

Al

Archived from groups: rec.audio.pro (More info?)

<< I'm looking fwd to trying them on piano (Yamaha DC7), where I often
use the C24. >>

If you want to hear them on a nicely dark C7, bring them over to my place next
time you do a piano session. I'd like to hear them too.

Scott Fraser

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ScotFraser wrote:
> << I'm looking fwd to trying them on piano (Yamaha DC7), where I often
> use the C24. >>

>
> If you want to hear them on a nicely dark C7, bring them over to my place next
> time you do a piano session. I'd like to hear them too.
>
> Scott Fraser

Ours is not so Yamaha bright. Out tech/tuner took a Dremmel like tool
to the hammers to mellow it out. We were knee deep in felt.
If you're in LA, Scott, you're welcome to try 'em out.

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<< Don't forget the Cannoli!
>>

And the Zamboni!

Scott Fraser

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ScotFraser wrote:
>
>> BTW : $110.000 for 9' grand seems pretty steep
>
> Then you don't want to know about the Fazioli. Now there's a fine instrument.

Gulp <http://www.bluebookofpianos.com/listprices/fazioli.htm>

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Carey Carlan <gulfjoe@hotmail.com> wrote in
news:Xns95A966093C30Dgulfjoehotmailcom@207.69.189.191:

> Edi Zubovic <edi.zubovic[rem this].@ri.htnet.hr> wrote in
> news:fub3q05mduf1s3e27ma8ek5uje8nfud2v9@4ax.com:
>
>>>Would anyone care to hear a high bitrate MP3 sample?
>>
>> Yes, I'd like to check it {provided it's reasonably sized for a 56K
>> connection, heh}. Thanks in advance!
>
> Give me a few days to get to that. It's third in line for editing.

Here's your sample.

http://ccarlan.home.mindspring.com/B6.html

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On Fri, 26 Nov 2004 05:31:33 GMT, Carey Carlan <gulfjoe@hotmail.com>
wrote:

---------------------------8<----------------------------
>> Give me a few days to get to that. It's third in line for editing.
>
>Here's your sample.
>
>http://ccarlan.home.mindspring.com/B6.html

Thank you, Carey. I've got the samples. First off, a very good
recording indeed. Quiet and very dynamic. It sure could bring an
equipment to its limits -- there's ample mid-frequencies energy
present. What I like is that the recording isn't fancy but reflects
both the microphone, which seems to be a fine one (quite robust to
impulses) and its placement ie. distance. A stronger re-equalization
is I would say not necessary as it would disturb such sound picture. I
can hear, at the "Slow", a pedal bump. But generally I like such
occurences, if undisturbing, as they contribute to detail and liveness
of a recording. The acoustics appears natural too what I find also
fine. And I love the fermatas at the end! Now that must be a fine
player, she/he took its time and that's good.

A good work.

Edi Zubovic, Crikvenica, Croatia

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Kurt Albershardt wrote:
> Carey Carlan wrote:
>
>>
>> Here's your sample.
>> http://ccarlan.home.mindspring.com/B6.html
>
>
> Thanks!
>
> Nice to hear all the notes, something some pianos

and many recordings

> don't quite seem able to manage.