Customer Reviews

Sony ECM-MS957 Stereo Microphone with Rotating Mid Capsule

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4 star:		(1)
3 star:		(0)
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I bought this mike for use with my minidisc recorders, mainly to record choral concerts at church and in other places. It has a nice stereo directionality and separation choices, but I advise you to watch your record levels or mike sensitivity setting because the sound levels tended to overload on loud passages or with percussive music like piano when used with my recorder's default (high) mike sensitivity setting.
It's very solid and well made. I'd rather have a boxed carrying case instead of the soft pouch provided, but that's a quibble.

I do a lot of field recording and studio work both. I got this mic strictly for field recording. I typically record on a Marantz PMD661 (Oade Brothers with Super MOD). I wasn't sure I'd like a set stereo width pattern for field recording (I'm used to setting up whatever alignment I want for a given situation, either indoors or outdoors (ORTF, MS, XY (90-140 degree), etc.) Well, I tried this mic out, tested my recorded results, and I can now say I like it *very* much. I wasn't entirely sure of what type of stereo image it was giving me, though, so I did some analysis with different stereo imaging plugins (Ozone phase correction section) and software (wavelab, samplitude, speclab, etc.) and observed the following elements:

Setup:

- Rotated the Sony ECM957 mic capsule forwards in order to get better bass pickup. I was recording at the edge of a stream over cobblestones (of sorts) on the day in particular. Aimed back of mic at water at about 45 degrees to the ground. This mic has descent stereo width coming off the top of the mic at 90 to 120 degree angles to the mic, but bass pickup seems rather thin at those points. However, bass pickup has fairly nice pickup a touch lower down the far side of the mic facing away from me (I had the switch facing me). I tried to angle the mic over the water and stones such that the bass, mids, and highs balanced smoothly in my headphones. Had width switch set to 120 degrees.

- Marantz PMD661 recorder (from Oade Brothers with the Super MOD for field recording. Makes for much quieter preamps than the stock ones. Tested this with Rode NT1-A mics. Very quiet results indeed.)

- Rode NT4-DXLR stereo XLR mic cable (separate left and right XLR 3-pin connectors to one 5-pin stereo XLR connector - really hard to find this cable (cheap or otherwise) - finally found at markertek for good price.)

Recording:

Flash card in the Marantz recorder using 24-bit/96KHz quality. Set record level knob at about 7.5 to 8.0 - fairly high in other words for extra sensitivity - manual level (turned off auto-leveling feature in recorder).

Results:

Transfered wav file to computer. Opened in wavelab and dropped in Ozone plugin. Studied stereo widths in these default bands: 0Hz to 120Hz, 120Hz to 2KHz, 2KHz to 10KHz, and 10KHz to 20KHz. I noticed that 0Hz to 120Hz had the widest stereo width, roughly 120 to 140 degrees of width, or a little more at times. 120 to 2KHz kept an average width around 120 degrees, but with lots of peak movement between 90 and 130 degrees. 2KHz to 10KHz seemed to become a bit narrower, hovering between 120 and 90 degrees only. 10KHz to 20KHz stayed pretty tight around 90 degrees, even though the mic's switch was on 120 degrees. Used Ozone to adjust all widths above 120Hz to hover around 120 degrees. I set 0 to 120 range to pure mono, since the ear doesn't perceive direction under about 110 or 120 Hz (bass frequencies, in other words).

Conclusion:

Looks like this mic, with minor adjustments to the one-off stereo recording, seems to narrow the stereo pattern as the frequencies get higher. I'm sure some of this has to do with how I angled my mic for a smoother pickup of the water sounds, rather than just aiming the stronger stereo region of the mic directly at the water. And, it may also have a little to do with angling the capsule forwards. I'll have to investigate all of this further with more tests and see if my conclusion needs adjusting as well. Either way, with just minor adjustments, I widened the stereo pattern just slightly with the plugin and ended up with a finished recording that contained a very nice width to the sound. I also tested the result in mono and nothing perceptively disappeared. After listening for a while, I viewed a spectrum analysis of the mono setting and didn't notice any comb filter bands occurring, so that was a relief.

Again, the mic did quite a nice job with just plain stereo imaging for my purposes and produced a very nice stereo nature recording, given the minor adjustments. It was also much quieter than I'd expected. I have to admit that I expected a much louder noise floor on this mic. It's certainly noisier than Rode NT1-A mics (billed as the quietest mic in the world by the way), but it did a *wayyy* better job than I was expecting, considering I'm more accustomed to much quieter studio mics. I'll certainly be using it as one of my two main field recording setups consistently.

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Recently did some calculations on the Sony ECM-MS957 mic to try and figure out what the actual noise floor of this mic is. I haven't found anywhere online that has this info posted, so I thought I'd add that here. (Still using this mic after about 3 years). Anyway, the mic has these specs:

MaxSPL: >115 dB (1kHz, 1% distortion (THD?))
Dynamic Range: >90dB
Frequency Response: 50-18,000 Hz
Signal-to-Noise (SNR) Ratio: >69dB
Operating Temps: 32°F to 104°F

My calculations are:

115dB MaxSPL - 90dB DynRange = approx. 25dB noise floor
OR, another way:
94dB ref. signal - 69dB SNR = 25dB noise floor

So, it roughly has a 25dB noise floor, more or less. Based on a comparison of recorded material to my KSM27 mics (14dB noise floor) and NT1A mics (5 dB noise floor), I could accept this. Not horrible, but not great, just depends on what you're using it for:

- For live music (both acoustic or electric), I've found it more than works great. Some acoustic may reveal the noise floor if it's a single instrument being played softly, at least from my own personal experience.
- For field/nature recording, it really depends on what you're recording, and the following references are things I've personally recorded with it on a Marantz PMD661:
* Ocean waves: great
* Lake waves in a 5+ mph wind: almost always not noticeable
* Lake waves in a 1-3 mph wind: iffy - noise floor starts showing up in-between faint wave crashes; can be fixed with tweaking and multi-band downward expander
* Lake waves in a 0-1 mph wind: almost impossible to get rid of noise floor, other than downward expanding, or eq'ing a few magic frequencies; it's not massively loud, but it *is* noticable
* Crickets: if they're not very loud, noise floor will show up a little bit; again, 'loud' here is subjective
* Frogs (spring peepers mainly): if no other sounds are present to mask the 6000-12000 Hz area, it'll show up
* Insects: will show up more when they're quiet, is generally masked when the insect songs are louder (like with cicadas, for example)
* Wind: if there's nothing to mask those higher mid-range or high frequencies (5000-15000 Hz), it'll show up (as was my experience). If you have additional sounds in there for masking, like leaves blowing on the ground, leaves in the trees, insects, rain, bird song, etc., it'll likely mask the noise floor.

I have taken this mic from the tropics of Puerto Rico to the London Underground and it has worked superbly. Once I figured out the sensitivity adjustment, I got louder recording levels. Remember to set it to max if you are recording ambient sounds outdoors. Super sensitive mic. Remember to hold it still and don't let the cable rub against clothing. Also, watch your breathing. It all gets picked up! I was trying to record nature sounds and picked up the cars on the road and dogs barking 1/2 mile or more away. I like the capsule adjustment as I can record sounds above me without turning the mic. Doesn't need phantom power which is nice.

First of all, this is not just a vocal mic, granted it works excellent for vocals, but you can record anything with this. My new minidisc recorder (Sony MZ-RH10) works great with this mic, I also use the Bose Quiet Comfort 2 headphones that way outside interference doesn't affect recordings, plus, it's a great way to check how your recording sounds AS YOU RECORD.

I use the microphone to record vocal overdubs (rap artists) acoustic guitar, traffic, sirens, concerts, and nature sounds.
The included wind mic is great when you record a storm and it's windy because the wind goes away, or your hear just a low frequency rumble which is actually quite pleasing. Excellent at recording thunderstorms.

Always use the manual setting when using a microphone like this, people these days like using AUTOMATIC settings, but when you are in a room with 20 people drinking, and you only want to record the person with the guitar in front of you, this mic works great. If your maximum manual setting is 30, record with this on 12-16, that's it, trust me on this, it's that good.

Check out a picture I posted with my microphone and the Bose Quite Comfort 2 headphones. By the way, everyone tells me the same thing, "Where can I get a pair of those headphones?", trust me, they sell them online, just expect to pay $300. I have used them for a long time, and I can't go back to using regular headphones. Regardless of what reviews tell you, they are perfect headphones as long as you are not stupid and fall asleep with them on.

Get this mic now, and while you are waiting for it to come, get a AA Lithium battery, if a standard AA normally lasts 2000 hours, imagine what a Lithium will get.

Please use Ni-MH (Nickel Metal Hydride) Rechargables for all your portable recording equipment, and please make sure that it says MADE IN JAPAN on the back, this microphone is MADE IN JAPAN.

I seriously recommend this over the 907 model for many reasons, #1 being quality of recordings, #2 being the pop filter works on this one #3 is the battery life 2000 hours vs 200 hours on the 907.

That's about it, this is the only mic I will use until I can find a better one, right now, this beat out a $1000 Neumann microphone, how, I don't know, but this mic is perfect in every way.

This is the best mic i have used for my Podcatsing Needs. I ma very happy with it and use it in conjunction with the IRiver FP 899.

These 2 make a great combination for my PodCasts (...)

I bought this mic specifically for my Sony PCM-M10 Recorder which I use for double-system video sound. The built-in mics on the PCM-M10 are OK for grabbing quick sounds, but they are omni electrets and don't capture adequate separation for a good stereo image. The ECM-MS957 works with a Mid/Side configuration and give an excellent stereo image. I am blown away by the realism this mic provides. I have used many mics in my lifetime, most of them pro studio types with phantom power, all of them orders of magnitude more costly than this mic and I have to say I have never heard a more accurate and realistic "just like being there" experience. I shared some recordings with friends who are pros in film, video, and music, and they couldn't believe the realism too. If you do any field recording with a portable recorder, please consider getting one of these. I don't think you will be disappointed. (Consider also the PCM-M10 recorder - they are made for each other for field recording.)
I have only a few small complaints with this unit (none of them performance issues). One is that the supplied mic stand, although handy, has no provision for connection to a larger stand or a tripod. The only thread that can be used is an obscure Japanese straight-pipe thread at the base of the holder. I can't find any kind of adapter that will fit. It would have been so easy for Sony to incorporate a standard 1/4-20 or 5/8-27 thread in the stand.
The other complaint is with the wind screen. It is of the foam variety and is not very effective outdoors except on rare occasions when there is only a slight breeze. The first thing I did was make a "dead cat" wind muff out of faux fur to cover the business end of the mic. - it's much more effective in the field and also works as a 'pop' screen for vocal work. Consider making or buying one of these if you plan to use the mic outdoors.
The rotating capsule feature is for switching between 'end-address' and 'side-address' orientation. The side-address setting is described as the more accurate or faithful response of the two. There is also a switch for setting the stereo separation which is very helpful depending on the width of the sound source. The power switch has an indicator light that only blinks very briefly when the unit is switched on, not showing that the unit is powered (when on) - another minor complaint. It is very easy to forget to switch it off when it's not in use.

We tested this new mic with our Sony PCM-D50 recorder, and were amazed at the exceptional sound quality for this price. It is very easy to adjust the directional pickup (the directional feature works well), the accessories were very nice, and the sensitivity is so good that we can hear every tiny sound clearly and without added noise. This microphone even picks up my soft voice well, which is quite a trick that no other mic has yet accomplished. We have paid a lot more for a lot less many times; this one will not disappoint you!

I was very happy to get a very good recording of my choir for review and practicing the music. I hope that I am able to get a recording to share of the concerts that we do with all the members. I am experimenting with the sensitivity setting for the microphone in my digital recorder. The highest setting is too sensitive for this type of recording. A setting of 1 so far does much better. I want to try and use a setting that is a little higher or move the mice closer to the group.
The recorder that I am using is the BookSense by GW Micro. I am including this for any other blind people who use this recorder.
Over all I am glad to have this mice and may get another soon.

Took this to the 8-28 rally with Panasonic HS-700 camcorder. Set the microphone to "Forward" and 90o. Were about 1/2 mile from the stage. It easily picked up the locusts singing near the stage, but could not hear them at all with only my ears. Conclude that this microphone thus has quite a bit of "throw." Extremely well constructed, with a 5-pin XLR connector and a cable which goes to 3.5mm. stereo plug. Need the Rode SM3 to fit the larger diameter [1.25"] of this mike; the Azden adapter, while very nicely constructed, will not fit this microphone. Definitely not a "toy."

The clarity of this microphone is amazing. It is easy to setup and works well on the road. I would recommend to a friend.