How was I surprised comparing it to MKH 416 – it sounds very similar, is just a bit noisier (it has around 40 years…) and has a bit less lows. Comparing to MKH 70 is way brighter, but less directional.
Recording sounds in the middle of room, gives very close and dry sound. I just loved it.

Next to the recording gear, my another addiction is sound props. I always look for interesting sounding stuff. Recently I found this milk blender, which looked promising and was cheap enough to destroy it during recording.
Always after recording regular sounds, I try performing props interacting with additional objects. I found that it sounds cool when pressed to paper, fabric, nylon giving very diverse flapping, buzzing sounds, which can be controlled in some ways.

What always amazes me, is how small objects can produce big sounds.
Below are some sounds recorded two track with Sennheiser MKH 815T and JrF C-Series contact mic. I often record this way, which gives me richer sound and more options for designing.
Some are pitch shifted.

And here are some processed sounds, which shows sonic potential of those sounds.

I was amazed by their collection of gramophones, old radios, vintage tv sets, tape recorders etc., visiting the museum recently. They were so kind, that they lately let me record, before tourists arrive.

I picked for it Neumann KMR 81, because of its low noise level (some of the sounds were very quiet) and Barcus Berry Plenar Wave 4000 contact mic – rooms in the museum are quite reverbant, so I knew it will come handy.

There isn’t much gear working and playing any sounds, but I was curious about diversity and complexity of vintage switches, buttons and knobs. I didn’t suppose how many great recordings I will get.

However, some gramophones survived and are working, so here they are (mix of shotgun and contact mics):

And switches & buttons of old radios and gramophones:

Exhibition is ordered chronologically, which gives great image of progress.

Here are WW2 military gear switches:

And a typewriter. Once again I felt in love in contact mics:

Buttons & switches from the ’50s & ’60s radios:

And radio tuning knobs:

.

Tape recorders from the ’70s:

Radios and gramophones once again (’70s & ’80s):

TV sets from the ’60s & ’70s:

… and retro phones (did I say that I love contact mics?):

The most freaky piece of gear was a Poliphone. I’m not sure if it’s working wright, but for me it was even better:

And a pitched down version:

I must say, that I prefer oldest switches which have much more character than the present plastic stuff.

So I ended up with a decent library of sounds, recorded @ 192k. Having tracks from both mics, gives great perspective and possibilities for future layering and processing sounds.

So I started with just a fan recorded with Neumann KMR 81 and Barcus Berry Plenar Wave 4000 contact mic attached to it, doing variations stopping it with fingers:

On next takes I attached contact mic to objects which I touched with propeller. All sounds below are mix of both mics.

So there goes small plastic object:

Metal box:

Metal pot (pitched):

and a beer glass (pitched):

I love that moment while recording props, when I learn how to mic it, then learn performing with it and finding new ways using it.

Playing with a cardboard (pitched):

Paper bag (pitched):

Plastic bag (pitched):

Sanding paper (pitched):

But the best object from this session was birds feather.
I am a fan of sound design of Bugs Life. Recently being with my kid in the cinema to see Epic I enjoyed diversity of wing flaps. I think this would work nice for that purpose.

Birds feather (pitched):

And with a bit of doppler:

For dessert I tried it on a Zither which I found some time ago on a flea market:

[Neumann KMR 81 / KM 120 MS kit]
 

And 192k recording pitched down with a bit of reverb:

Those sounds can easily become components for engines (of a car or plane) – cartoon style or real, grinding sounds or insects.
Such a small toy and so much fun!