Austrian Audio OC 818 vs DPA 4011A Stereo Pairs
Austrian Audio OC818
DPA is a high-end microphone company and needs no introduction, they have been around for around 30 years (their capsule design begins somewhere around 1950 with their first measuring microphones) and their microphones have been used on countless recording sessions in the finest concert halls in the world. The 4011A is a small-diaphragm cardioid condenser, praised by engineers and musicians for its sheer accuracy and extremely low distortion.
DPA 4011A
Austrian Audio might be a new name, but the people behind it have a combined experience of over 350 years in audio engineering, or that's what their marketing team suggests. The OC818 is their first creation, a multipattern large-diaphragm condenser microphone built around a hand made ceramic capsule, made to the same critical dimensions as the classic CK12.
Apples and Oranges
Although this test might seem to compare apples and oranges, as one is a small-diaphragm condenser with a fixed cardioid polar pattern and the other is a multipattern large-diaphragm condenser, the objectives are quite clear.
Julian Bream and AKG C24
Slower transient details, colouration and the ability for a lower self-noise floor are well-documented attributes of a larger capsule, while greater linearity and accuracy are closely associated with a smaller one.
When recording a top grade, luthier classical guitar, we wish to immortalise every detail. And thus, for the last decades, the use of small-diaphragm condenser microphones have prevailed. Most of the iconic recordings that defined the sound of the classical guitar have been made with the large-diaphragm condenser and ribbon microphones though. Many of the Julian Bream recordings, for example, have been made with AKG's stereo C24.
Neutrality might not always be desirable.
DPA 4011A Frequency Response and Polar Pattern
Austrian Audio OC818 Cardioid Frequency Resposne and Polar Pattern
The act and art of recording allow for the development of personal aesthetic, as every choice would have an impact on how the recording will be interpreted and appreciated.
Following this path I want to investigate further if the colouration that is usually a characteristic of large-diaphragm condenser microphones, can sometimes be desirable when recording classical guitar.
And furthermore, try to answer the question if a single multi-pattern microphone, with all the versatility that it bears, could replace or subtitute for a collection of dedicated microphones in classical guitar recording.
Details
Stereo Sets
The recordings were done in AB stereo with a 32cm distance between each microphone, I placed each 4011A and OC818 microphones side by side, as I figured that this will bring the capsules closer together. The microphones were on axis with my guitar, at 88cm high and around 50-55cm from the spruce top. The recordings are dry with no EQ, reverb or other processing anywhere.
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Click here for more comparisons and a full review of both the OC18 and a stereo pair of OC818.
Disclaimer: Austrian Audio and DPA sent me the microphones for reviewing without any precondition or obligation to write positively about them. This is an honest presentation, driven by a genuine interest and desire to create a classical guitar microphone database.
