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Post by sll on Oct 11, 2015 12:16:06 GMT -6
Sounds great Randy! Of course, it doesn't hurt to have Cody pickin' the wires either.
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Post by mrholmes on Oct 12, 2015 7:15:10 GMT -6
Randge Today I listened in the studio and hell - it sounds like one of the best solo guitar recordings I heard in the past 20 years. Very nice idea to blend those mics together because you wont need any EQ. Have to try it myself. Whats about the ribbon in the mic when its 45°? Wont it suffer from sag the longer it hangs like this?
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Post by sll on Oct 12, 2015 9:04:57 GMT -6
Whats about the ribbon in the mic when its 90°? Wont it suffer from sag the longer it hangs like this? I suppose over long periods of time (years) it could begin to sag? The ribbons don't have much mass. They are also tensioned and corrugated so there is lots of tensile strength. They are designed to be used in any configuration. Also, the wooden storage box forces it to be stored horizontal like this because of the magnets on the side and the cutout in the foam. If it does begin to sag, the ribbon has lost tension and needs to be replaced regardless of how the mic was hung. I have heard of an old timer trick with the old RCA 44s and 77s that tilting them forward would stretch the ribbon slightly creating more tension and they could get more high frequencies out of the mic. I've only had the chance to use a vintage 44 once in a live radio broadcast so I didn't get time to test that theory. The Royer R-121 has more top end on the back side, but that is due to the placement of the ribbon in the magnetic field and housing.
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Post by tonycamphd on Oct 12, 2015 9:34:12 GMT -6
Whats about the ribbon in the mic when its 90°? Wont it suffer from sag the longer it hangs like this? I suppose over long periods of time (years) it could begin to sag? The ribbons don't have much mass. They are also tensioned and corrugated so there is lots of tensile strength. They are designed to be used in any configuration. Also, the wooden storage box forces it to be stored horizontal like this because of the magnets on the side and the cutout in the foam. If it does begin to sag, the ribbon has lost tension and needs to be replaced regardless of how the mic was hung. I have heard of an old timer trick with the old RCA 44s and 77s that tilting them forward would stretch the ribbon slightly creating more tension and they could get more high frequencies out of the mic. I've only had the chance to use a vintage 44 once in a live radio broadcast so I didn't get time to test that theory. The Royer R-121 has more top end on the back side, but that is due to the placement of the ribbon in the magnetic field and housing. For giggles, every time I go to my mic closet to put/pull mics, i flip my pair of Samar modded 205's over, they are stored upright or downright, i never store them horizontally, i have no idea if it would cause any sag horizontally, but i read it's best to store vertically so i do. That said, my Samar 205's are beyond ridiculously good IMO, ask wiz what he thought of one as a vocal mic? The top end is unheard of for a ribbon, but it still keeps all the butter qualities of the best ribbons in spades, i can't recommend Samar enough, Mark is a ribbon mic master.
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Post by mrholmes on Oct 12, 2015 11:35:25 GMT -6
Randge I did try the over the shoulder ribbon-mic thing today. Great - it gives some nice height. I just used two mics one KM 184 about 30 cm away, pointing to the 12th fret slightly angeled to the wooden floor. The ribbon (BTW a 70 Euro China Ribbon Mic with FET Head) over my shoulder that the mic-front can see the sound hole of the guitar, as well as to capture some floor reflections. I panned both slightly LR, did some leveling, a little EQ and used a good amount lexicon random hall.... It sounds super good, and to my surprise there was no big phase issue... Will track something on the weekend and post it. Thank you another cool way to track something...
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Post by Guitar on Oct 13, 2015 16:27:26 GMT -6
Stephen Lee - SpringtimeHere's a track I recorded for my friend, singer songwriter Stephen Lee, who seems to be constantly on tour. We used two mics on the dreadnaught guitar, one over the shoulder, the other at an angle pointed toward the neck/body joint position. One of the mics was an Oktava MK-012 but I forget what the other one was. I'm singing backup vocals as well as being the engineer. I was kind of impressed how natural the guitar sounds with that mic setup, which is why I wanted to post this here. I believe the vocal mic was an AT4047 which I haven't owned for a long time now.
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Post by Martin John Butler on Oct 13, 2015 21:01:33 GMT -6
Beautiful monkeyxx.
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Post by mrholmes on Oct 14, 2015 8:07:39 GMT -6
Was cleaning the studio today it always includes cleaning the hard disks too. I found some very old (mp3) dreadnought recordings - made for guitar students - done with two km 184 on a stereo bar.. To my surprise they do sound very good - link
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Post by forgotteng on Oct 27, 2015 10:47:06 GMT -6
Has anyone had any experience with Advanced Audio CM54's in this type of micing configuration? Found a decent used pair and I thought I might try it.
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Post by sean on Oct 27, 2015 19:16:59 GMT -6
The upper/lower bout micing has really worked well for me over the years, just be careful of heavy nose breathers! The spaced pair (neck and bridge) method sometimes works if you want a really wide guitar but often the picking hand moves in front of the bridge mic which changes the tone and makes things a bit phasey. X/Y, Blumlein or M/S can be great as well, when I have someone singing and playing I like to set up a stereo microphone in M/S pretty much right below the volume microphone, this seems to keep vocal bleed pretty even in the guitar, otherwise the voice is usually picked up more in one microphone. The upper/lower bout seems to work best in a band setting. I like that method for mandolin (but more upper and lower F hole) as well...but sometimes if looks like you are micing the crouch which can be awkward. Pretty much every other acoustic instrument I just move my head around until I find a "sweet spot" and place a microphone there, and then put the second microphone someplace complimentary to that sound (or just use one microphone).
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Post by Johnkenn on Oct 27, 2015 20:23:38 GMT -6
I suppose over long periods of time (years) it could begin to sag? The ribbons don't have much mass. They are also tensioned and corrugated so there is lots of tensile strength. They are designed to be used in any configuration. Also, the wooden storage box forces it to be stored horizontal like this because of the magnets on the side and the cutout in the foam. If it does begin to sag, the ribbon has lost tension and needs to be replaced regardless of how the mic was hung. I have heard of an old timer trick with the old RCA 44s and 77s that tilting them forward would stretch the ribbon slightly creating more tension and they could get more high frequencies out of the mic. I've only had the chance to use a vintage 44 once in a live radio broadcast so I didn't get time to test that theory. The Royer R-121 has more top end on the back side, but that is due to the placement of the ribbon in the magnetic field and housing. For giggles, every time I go to my mic closet to put/pull mics, i flip my pair of Samar modded 205's over, they are stored upright or downright, i never store them horizontally, i have no idea if it would cause any sag horizontally, but i read it's best to store vertically so i do. That said, my Samar 205's are beyond ridiculously good IMO, ask wiz what he thought of one as a vocal mic? The top end is unheard of for a ribbon, but it still keeps all the butter qualities of the best ribbons in spades, i can't recommend Samar enough, Mark is a ribbon mic master. markfouxman Can you speak to this? BTW - I have the VL37 and I'm thrilled with it.
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Post by markfouxman on Oct 28, 2015 19:02:24 GMT -6
For giggles, every time I go to my mic closet to put/pull mics, i flip my pair of Samar modded 205's over, they are stored upright or downright, i never store them horizontally, i have no idea if it would cause any sag horizontally, but i read it's best to store vertically so i do. That said, my Samar 205's are beyond ridiculously good IMO, ask wiz what he thought of one as a vocal mic? The top end is unheard of for a ribbon, but it still keeps all the butter qualities of the best ribbons in spades, i can't recommend Samar enough, Mark is a ribbon mic master. markfouxman Can you speak to this? BTW - I have the VL37 and I'm thrilled with it. Thank you John for bringing this topic to my attention. Because of the way we corrugate our ribbons they retain their shape and are stable for very long time and do not require vertical storage. Best, M
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Post by lolo on Oct 29, 2015 1:41:21 GMT -6
I can pick a Miktek C5 up for a great price. Will probably use with CV4 to track acoustics. Anyone here us the C5's?
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Post by Randge on Oct 29, 2015 8:38:10 GMT -6
I can pick a Miktek C5 up for a great price. Will probably use with CV4 to track acoustics. Anyone here us the C5's? I use them nearly everyday. Solid mic and my go to for many sources including mandolins. We use them almost exclusively when we track percussion parts. Lots of smooth detailed highs when dealing with shakers, tamborines, cymbal swells and the like. I use the omni caps mostly and hardly have to do anything for tracks to fit into the mix. They are very solid on acoustic guitar but I prefer my Peluso P-28's for that job normally. Just a personal preference. They are a great bang for the buck and many records are being tracked close by everyday with them on piano, hi-hats, overheads, percussion and various acoustic instruments. I sure wouldn't turn up my nose if I dropped by another studio for an overdub and they had them set up to record me. Hope that helps...
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Post by tasteliketape on Oct 29, 2015 8:44:26 GMT -6
Range are yours stock or.shannon mods? agree great for the money
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Post by dandeurloo on Oct 29, 2015 9:36:17 GMT -6
I just did a pretty live tracking session. I used a senn 441 and Km185 on the acoustic. It turned out really nice.
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Post by Guitar on Oct 29, 2015 9:45:24 GMT -6
I just did a pretty live tracking session. I used a senn 441 and Km185 on the acoustic. It turned out really nice. MD441 is my favorite dynamic mic for acoustic guitars, very nice sound.
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Post by Randge on Oct 29, 2015 11:06:21 GMT -6
Range are yours stock or.shannon mods? agree great for the money Mine are stock.
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Post by wiz on Oct 29, 2015 16:38:20 GMT -6
I can pick a Miktek C5 up for a great price. Will probably use with CV4 to track acoustics. Anyone here us the C5's? Cris at Federal was getting rid of ex demo ones cheers Wiz
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Post by lolo on Oct 29, 2015 18:04:58 GMT -6
I can pick a Miktek C5 up for a great price. Will probably use with CV4 to track acoustics. Anyone here us the C5's? I use them nearly everyday. Solid mic and my go to for many sources including mandolins. We use them almost exclusively when we track percussion parts. Lots of smooth detailed highs when dealing with shakers, tamborines, cymbal swells and the like. I use the omni caps mostly and hardly have to do anything for tracks to fit into the mix. They are very solid on acoustic guitar but I prefer my Peluso P-28's for that job normally. Just a personal preference. They are a great bang for the buck and many records are being tracked close by everyday with them on piano, hi-hats, overheads, percussion and various acoustic instruments. I sure wouldn't turn up my nose if I dropped by another studio for an overdub and they had them set up to record me. Hope that helps... Thanks Randy
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Post by lolo on Oct 29, 2015 18:05:08 GMT -6
I can pick a Miktek C5 up for a great price. Will probably use with CV4 to track acoustics. Anyone here us the C5's? Cris at Federal was getting rid of ex demo ones cheers Wiz I am grabbing one from him ?
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