{"id":1695,"date":"2022-01-03T16:10:57","date_gmt":"2022-01-03T15:10:57","guid":{"rendered":"http:\/\/www.cyrilbouysse.com\/cbamp\/?p=1695"},"modified":"2025-12-29T21:46:01","modified_gmt":"2025-12-29T20:46:01","slug":"cb-409-microphone","status":"publish","type":"post","link":"https:\/\/www.cyrilbouysse.com\/cbamp\/cb-409-microphone\/","title":{"rendered":"CB-409 Microphone"},"content":{"rendered":"
\n
\n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div>
\n
\n\t

 <\/p>\n

 <\/p>\n

CB-409 Microphone<\/span><\/p>\n

 <\/p>\n

-----------<\/p>\n

 <\/p>\n

Re-cr\u00e9ation du Sennheiser MD-409<\/span><\/em><\/p>\n<\/div>\n<\/div><\/div><\/div>

\n
\n\t

 <\/p>\n

J'ai pass\u00e9 des ann\u00e9es \u00e0 chercher le micro qui respectait au mieux les nuances de toutes les diff\u00e9rentes distorsions et fuzzes. A quoi bon fabriquer du mat\u00e9riel si sp\u00e9cifique et haut de gamme si c'est pour que tout sonne pareil sur un enregistrement ?<\/span><\/p>\n

 <\/p>\n

I spent years looking for a microphone that really respected all the nuances of the different distortions and fuzzes. What is the point of making such specific and high-end guitars, amps and pedals, if it is to make everything sound equal on a recording ?<\/em><\/span><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>

\n
\n\t

Apr\u00e8s avoir essay\u00e9 quantit\u00e9 de micros dynamiques, statiques, ou rubans, il s'est av\u00e9r\u00e9 que beaucoup de rubans \u00e9taient excellents et apportaient de la rondeur. Mais si l'on voulait s'en tenir au respect des timbres, c'est le c\u00e9l\u00e8bre Sennheiser MD-409<\/strong> qui arrivait clairement en t\u00eate.<\/span><\/p>\n

Comme il n'est plus fabriqu\u00e9 et que sa c\u00f4te s'envole, j'en suis donc venu \u00e0 fabriquer les miens en recr\u00e9ant la non moins c\u00e9l\u00e8bre capsule 402\/3<\/strong>. Je pr\u00e9cise ici que ce n'est pas une simple capsule de MD-408 ! M\u00eame si ces capsules se ressemblent, elles sont pourtant TRES DIFFERENTES ! Une capsule de 408 mont\u00e9e dans un corps de micro n'en fera pas un 409 !<\/span><\/p>\n

 <\/p>\n

After recording lots of dynamic, condenser, or ribbon mics, a lot of the ribbons turned out to be excellent and provided great warm sounds. But if we want to stick to respect for the timbre, the famous Sennheiser MD-409<\/strong> was clearly ahead.<\/em><\/p>\n

As it is no longer manufactured and its used price flies off, I decided to make mine by recreating the no less famous 402\/3<\/strong> capsule. I must add that it is NOT a MD-408 capsule ! Even if these 2 look the same, THEY ARE NOT THE SAME ! A 408 capsule in a microphone enclosure will not make it a 409 !<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\t\t\t\t
\n\t\t\t\t\t\t\t
  • \n\t\t\t\t\t
    \n\t\t\t
    \n\t\t\t\t
    \n
    \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
  • \n\t\t\t\t\t
    \n\t\t\t
    \n\t\t\t\t
    \n
    \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
  • \n\t\t\t\t\t
    \n\t\t\t
    \n\t\t\t\t
    \n
    \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t<\/ul>\t\t\t\t
      \n\t\t\t\t\t\t\t\t\t\t\t
    1. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
    2. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
    3. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t<\/ol>\n\n\t\t\t\t
      \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t
      \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/div><\/div>
      \n
      \n\t

      J'ai plac\u00e9 ces capsules dans diff\u00e9rents corps de micros vintage - que j'ai avant tout choisis pour leur look d'enfer - mais qui procurent un \u00e9qualisation tr\u00e8s l\u00e9g\u00e8rement sp\u00e9cifique selon leur conformation.<\/span><\/p>\n

      Le Sennheiser MD-409<\/strong> est un micro dynamique donn\u00e9 pour avoir une directivit\u00e9 cardio\u00efde. Pourtant comme on peut le voir plus haut, sa cellule 402\/3<\/strong> est ouverte \u00e0 l'arri\u00e8re, et le micro pr\u00e9sente une grille avant et arri\u00e8re. On a d'ailleurs vu certains utiliser le 409<\/strong> \" \u00e0 l'envers\" lors de prises de son. Le rendu est alors plus \u00e9pais, avec beaucoup d'aigus et de sifflantes coup\u00e9s.<\/span><\/p>\n

      Ainsi, la figure de directivit\u00e9 du 409<\/strong> est plus entre l'hyper cardio\u00efde et la figure en 8.<\/span><\/p>\n

      \u00a0<\/span><\/p>\n

      I used different vintage microphone housings - mostly crystal mics which I chose above all for their fabulous look - but which provide a very slightly specific equalization according to their structure.
      \n<\/em><\/span><\/p>\n

      The MD-409 is a dynamic microphone, given to have a cardioid pattern. However, as we can see above, the 402\/3 is an open back capsule, and the microphone has front and rear grilles. Some people use the 409 \"backwards\" when recording. The result is a thicker sound, cutting off some treble and sibiliant sounds.<\/span><\/em><\/p>\n

      Thus, the pattern of the 409 is something between the hyper cardioid and the figure in 8.<\/span><\/em><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>

      <\/div>
      \t\t\t\t
      \n\t\t\t\t\t\t\t
    4. \n\t\t\t\t\t
      \n\t\t\t
      \n\t\t\t\t
      \n
      \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
    5. \n\t\t\t\t\t
      \n\t\t\t
      \n\t\t\t\t
      \n
      \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
    6. \n\t\t\t\t\t
      \n\t\t\t
      \n\t\t\t\t
      \n
      \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
    7. \n\t\t\t\t\t
      \n\t\t\t
      \n\t\t\t\t
      \n
      \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
    8. \n\t\t\t\t\t
      \n\t\t\t
      \n\t\t\t\t
      \n
      \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t<\/ul>\t\t\t\t
        \n\t\t\t\t\t\t\t\t\t\t\t
      1. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
      2. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
      3. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
      4. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
      5. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t<\/ol>\n\n\t\t\t\t
        \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t
        \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/div>
        \n
        \n\t

         <\/p>\n

         <\/p>\n

         <\/p>\n

        A gauche<\/strong>, la recr\u00e9ation exacte du MD409, dans un corps de type Sennheiser avec la capsule CB409. On a bien s\u00fbr le rendu exact du MD409 original.<\/span><\/p>\n

         <\/p>\n

        A droite<\/strong>, avec le corps d'un Calrad DM-16, on est toujours tr\u00e8s proche d'un 409. C'est le CB-409<\/strong> look\u00e9 50s'.<\/span><\/p>\n

        Si l'on veut chercher la petite b\u00eate, on pourrait dire que la conformation du corps r\u00e9duit tr\u00e8s l\u00e9g\u00e8rement l'onde arri\u00e8re de la directivit\u00e9. On a tr\u00e8s l\u00e9g\u00e8rement moins de basses, mais toujours l'air et le naturel de la prise de son. <\/span><\/p>\n

         <\/p>\n

         <\/p>\n

        On the left<\/strong>, an exact re-creation of the MD409, in a Sennheiser type body, with the CB409 capsule. This mike has of course the same pattern and sound as the MD409.<\/em><\/p>\n

         <\/p>\n

        On the right<\/strong> we are still very close to a 409, with the body of a Calrad DM-16. The CB-409<\/strong> with classic 50s look.<\/em><\/p>\n

        To be picky, we could point that the conformation of the body slightly reduces the back wave on the pattern. There is very slightly less bass, but the recording remains very natural.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

        \t\t\t\t
        \n\t\t\t\t\t\t\t
      6. \n\t\t\t\t\t
        \n\t\t\t
        \n\t\t\t\t
        \n
        \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
      7. \n\t\t\t\t\t
        \n\t\t\t
        \n\t\t\t\t
        \n
        \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
      8. \n\t\t\t\t\t
        \n\t\t\t
        \n\t\t\t\t
        \n
        \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
      9. \n\t\t\t\t\t
        \n\t\t\t
        \n\t\t\t\t
        \n
        \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
      10. \n\t\t\t\t\t
        \n\t\t\t
        \n\t\t\t\t
        \n
        \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t<\/ul>\t\t\t\t
          \n\t\t\t\t\t\t\t\t\t\t\t
        1. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
        2. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
        3. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
        4. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
        5. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t<\/ol>\n\n\t\t\t\t
          \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t
          \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/div>
          <\/div><\/div>
          <\/div>
          \t\t\t\t
          \n\t\t\t\t\t\t\t
        6. \n\t\t\t\t\t
          \n\t\t\t
          \n\t\t\t\t
          \n
          \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
        7. \n\t\t\t\t\t
          \n\t\t\t
          \n\t\t\t\t
          \n
          \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
        8. \n\t\t\t\t\t
          \n\t\t\t
          \n\t\t\t\t
          \n
          \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
        9. \n\t\t\t\t\t
          \n\t\t\t
          \n\t\t\t\t
          \n
          \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
        10. \n\t\t\t\t\t
          \n\t\t\t
          \n\t\t\t\t
          \n
          \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t<\/ul>\t\t\t\t
            \n\t\t\t\t\t\t\t\t\t\t\t
          1. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
          2. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
          3. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
          4. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
          5. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t<\/ol>\n\n\t\t\t\t
            \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t
            \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/div>
            \n
            \n\t

            A gauche :<\/strong><\/p>\n

            En utilisant un corps de micro ferm\u00e9 (ici un Argonne AR-54<\/strong>), l'onde arri\u00e8re est totalement supprim\u00e9e. C'est ce que font certains ing\u00e9 sons en pla\u00e7ant une petite feuille de carton derri\u00e8re la capsule du MD-409.<\/span><\/p>\n

            Le rendu est \u00e9quivalent \u00e0 celui d'un coupe bas<\/strong>, tr\u00e8s utile sur les tr\u00e8s grosses saturations. Et les m\u00e9diums b\u00e9n\u00e9ficient d'une belle mise en valeur. On ainsi la conformation la plus rock.\u00a0<\/span>Et c'est le CB-509<\/strong> total look.<\/span><\/p>\n

             <\/p>\n

            On the left :<\/em><\/strong><\/p>\n

            By using a closed mic housing (here an Argonne AR-54<\/strong>), the rear wave is completely eliminated. That's what some engineers do by placing a small piece of cardboard behind the capsule of the MD-409.<\/em><\/p>\n

            It acts as a low cut<\/strong>, very useful on huge distortions. And the mids are nicely enhanced. Here we have the most rock conformation. <\/em>And that's the total look CB-509<\/strong>.<\/em><\/p>\n

             <\/p>\n

             <\/p>\n

            A droite, <\/strong>un corps de micro statique \u00e0 double grille, c'est la conformation du CB-409<\/strong> totalement \u00e9quivalente au Sennheiser MD-409<\/strong>.<\/p>\n

            On a cette m\u00eame directivit\u00e9 entre l'hyper cardio\u00efde et la figure en 8. Le rendu des graves est bien pr\u00e9sent, et la prise de son est\u00a0 tr\u00e8s naturelle, avec beaucoup d'air.<\/p>\n

             <\/p>\n

            On the right, <\/strong><\/em>a condenser microphone body with 2 grilles, it is the conformation of the CB-409<\/strong> totally equivalent to the Sennheiser MD-409<\/strong>.<\/em><\/p>\n

            We have the same pattern, between the hyper cardioid and the figure in 8. The bass response is present, and the recording is very natural.<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

            \t\t\t\t
            \n\t\t\t\t\t\t\t
          6. \n\t\t\t\t\t
            \n\t\t\t
            \n\t\t\t\t
            \n
            \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
          7. \n\t\t\t\t\t
            \n\t\t\t
            \n\t\t\t\t
            \n
            \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
          8. \n\t\t\t\t\t
            \n\t\t\t
            \n\t\t\t\t
            \n
            \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
          9. \n\t\t\t\t\t
            \n\t\t\t
            \n\t\t\t\t
            \n
            \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t\t\t
          10. \n\t\t\t\t\t
            \n\t\t\t
            \n\t\t\t\t
            \n
            \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/li>\n\t\t<\/ul>\t\t\t\t
              \n\t\t\t\t\t\t\t\t\t\t\t
            1. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
            2. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
            3. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
            4. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t\t\t
            5. <\/a><\/li>\n\t\t\t\t\t\t\t\t\t<\/ol>\n\n\t\t\t\t
              \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t
              \n\t\t\t\t\t\n\t\t\t\t\t\t<\/em>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/div>
              <\/div><\/div>
              \n
              \n\t

              D'autres corps peuvent accueillir la capsule du CB-409<\/strong> - Other housings can receive the CB-409<\/strong> capsule.<\/em><\/span><\/p>\n

              De gauche \u00e0 droite - From left to right<\/em> : Astatic WR-20, Olson M-105, Turner Model 33, Schumann MKS3, Electro Voice Cardax Model 950, Gyan M2.<\/span><\/p>\n<\/div>\n<\/div><\/div><\/div>

              \n
              \n\t\t\"Sennheiser\n\t<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

                  CB-409 Microphone   ———–   Re-cr\u00e9ation du Sennheiser MD-409   J’ai pass\u00e9 des ann\u00e9es \u00e0 chercher le micro qui respectait au mieux les nuances de toutes les diff\u00e9rentes distorsions et fuzzes. A quoi bon fabriquer du mat\u00e9riel si sp\u00e9cifique et haut de gamme si c’est pour que tout sonne pareil sur un enregistrement […]<\/p>\n","protected":false},"author":1,"featured_media":3254,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-1695","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hifi-studio"],"_links":{"self":[{"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/posts\/1695","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/comments?post=1695"}],"version-history":[{"count":214,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/posts\/1695\/revisions"}],"predecessor-version":[{"id":1924,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/posts\/1695\/revisions\/1924"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/media\/3254"}],"wp:attachment":[{"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/media?parent=1695"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/categories?post=1695"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cyrilbouysse.com\/cbamp\/wp-json\/wp\/v2\/tags?post=1695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}