|
Post by ChaseUTB on Mar 17, 2017 23:14:24 GMT -6
Stereo pair of LDC (Neumann TLM170's) here and it's the best Ac Gtr sounds I've achieved yet. Sounds like I'm in the room standing in front of the guitar. That's definitely the goal Have you used the Upton on Gtr?
|
|
|
Post by Johnkenn on Mar 18, 2017 7:01:30 GMT -6
That's definitely the goal Have you used the Upton on Gtr? Just on the pointed down towards the bridge area around eye level along with the KM84 or M300 on the 12th fret. And it has sounded great panned left and right. I need to try just a mono recording with the Upton...but I haven't had time to experiment or just take the chance on a recording. I'll try it this morning and post an example. Maybe of the 84, 251 and then both.
|
|
|
Post by ChaseUTB on Mar 18, 2017 15:52:30 GMT -6
Have you used the Upton on Gtr? Just on the pointed down towards the bridge area around eye level along with the KM84 or M300 on the 12th fret. And it has sounded great panned left and right. I need to try just a mono recording with the Upton...but I haven't had time to experiment or just take the chance on a recording. I'll try it this morning and post an example. Maybe of the 84, 251 and then both. Awesome, would love to hear the difference between the mics as well as seeing which combo is the best sounding.
|
|
|
Post by swurveman on Mar 18, 2017 16:08:01 GMT -6
After having a pair of Schoeps CMC64's, I switched to a pair of Lauten 387's mostly in m/s. I would have gone two U87ai's, but couldn't afford it.
|
|
|
Post by Johnkenn on Mar 18, 2017 19:21:53 GMT -6
|
|
|
Post by Johnkenn on Mar 18, 2017 19:24:48 GMT -6
WTH - not sure why these sound warbly. My original files don't. Might stop putting this on Box, sounds like it mangled them.
OK, apparently Box does something to the files...let me try something else.
|
|
|
Post by Johnkenn on Mar 18, 2017 19:29:45 GMT -6
|
|
|
Post by Martin John Butler on Mar 18, 2017 21:59:12 GMT -6
Hate to say it, but I'm not lovin' the Upton on acoustic guitar, it's kinda sparkly, but a little hollow, like a C12 can be sometimes. The 84 is its usual solid self. It doesn't matter at all if the Upton does what you need on lead vocals.
|
|
|
Post by Vincent R. on Mar 18, 2017 22:26:06 GMT -6
Johnkenn I really like the stereo configuration. And yes, the google files sounded better.
|
|
|
Post by c0rtland on Mar 18, 2017 22:34:50 GMT -6
Both are great. Different. Upton has that sparkly top. 84 has more balanced mids. I mean, it depends on the arrangement as usual which I'd choose. At this level of quality it's what's gonna work that day. I've never knowingly heard a 251 on acoustic. Thanks!
|
|
|
Post by rowmat on Mar 19, 2017 5:58:31 GMT -6
Normally a KM84 or sometimes a KM54 depending on the guitar. For a LDC our Neumann U77 pretty much beats everything else.
|
|
|
Post by Johnkenn on Mar 19, 2017 9:08:07 GMT -6
Yeah, I think the 84 sounds better as a mono recording. Of course, none of these are EQ'd.
|
|
gavg
Full Member
Posts: 33
|
Post by gavg on Mar 21, 2017 18:46:31 GMT -6
I'm generally a LDC guy on acoustics... C12 / 67 / 87 / 414 - all good. That said..... On occasion, a KM54 if available , KM84 , 86, 56 or even a 451 can be just what the doctor ordered. Also like mixing in a 57, possibly 1176'ed for some extra push factor if called for, but I like lining up the diaphrams for mono. Never was able to make much sense of space mics on acoustic. If I need a stereo acoustic recording, I go M/S.
|
|
|
Post by Johnkenn on Mar 21, 2017 18:55:05 GMT -6
Welcome, gavg if I haven't already welcomed you! I had always just gone mono...but I found that it sometimes made me want to track a second acoustic in a different inversion (which can be really cool)...just for the space in the mix...but then sometimes it would just get too busy. Stereo miking has seemed to fill the width without having to add more busy-ness so to speak. M/S is definitely cool too, just sometimes if the player moves while he's playing it can really make the sound move around the spectrum...
|
|
gavg
Full Member
Posts: 33
|
Post by gavg on Mar 22, 2017 3:55:21 GMT -6
Hi John,
Thanks! Don't know how I missed this forum in the past.
Funny, I always found players moving between spaced mics to cause the drift. The M mic provides an anchor for me and if the guys is too mobile, can always underplay the S more.
|
|
|
Post by Johnkenn on Mar 22, 2017 8:52:37 GMT -6
|
|
|
Post by c0rtland on Mar 24, 2017 21:14:11 GMT -6
I've been loving the 990 on acoustic, MDC, but still. . Just very clear, full, reminds me honestly of 84's. hard to say. I just love it. high resolution tight flattering. That's one awesome mic, I can't say enough good things about it. modern but mellow. I'll stop with the adjectives. Color me in love. I don't have a gefell I don't absolutely love to be fair though. Never disappoint.
|
|
|
Post by Guitar on Mar 28, 2017 16:00:59 GMT -6
Just beginning to research.. Knopfler's producer, Chuck Ainley says they use an SM 57 and a U67. I would've guessed a U67 myself, it doesn't get any bigger. The SM57 surprised me though. Stephen Stills on "Suite Judy Blue Eyes"? U 67 again! Don't be surprised! U67 and SM57 are some of the most popular guitar mics in history. Same combo was used on Radiohead's "Fake Plastic Trees" but the U67 developed an issue during the tracking, so that song is just the SM57!
|
|
|
Post by Guitar on Mar 28, 2017 16:20:36 GMT -6
I've never been a big fan of SDC acoustic guitar sounds, I seem to prefer the LDC mics. Or something like a nice ribbon, or MD441.
For as long as I can remember, I always like hearing a full bodied sound from acoustic guitar. Not just the sizzly top end. A lot of that comes from the instrument, but the microphone is also important. Obviously, SDC has their place and can also sound pretty full with the right setup.
I thought the Upton sounded pretty good, there. And the SDC/LDC combo is a good recipe.
I guess it really is, "what's it today" more than anything else. It's a hugely moving target.
|
|
|
Post by rowmat on Mar 28, 2017 22:14:04 GMT -6
I've never been a big fan of SDC acoustic guitar sounds, I seem to prefer the LDC mics. Or something like a nice ribbon, or MD441. For as long as I can remember, I always like hearing a full bodied sound from acoustic guitar. Not just the sizzly top end. A lot of that comes from the instrument, but the microphone is also important. Obviously, SDC has their place and can also sound pretty full with the right setup. I thought the Upton sounded pretty good, there. And the SDC/LDC combo is a good recipe. I guess it really is, "what's it today" more than anything else. It's a hugely moving target. You have tried a KM84 on an acoustic?
|
|
|
Post by javamad on Mar 29, 2017 5:50:11 GMT -6
I did a mid-side experiment with LDC in cardioid (AKG 314) as mid and a vintage ribbon figure-8 (Reslo Beeb) as side .. it sounded great! Very realistic and un-hyped. When I added top EQ to the sides it was not brittle at all.
It totally looked like a Frankenstein set up though, I actually have a stereo pair of 314's ... I was just testing my new Beeb :-)
|
|
|
Post by Guitar on Mar 29, 2017 6:56:22 GMT -6
I've never been a big fan of SDC acoustic guitar sounds, I seem to prefer the LDC mics. Or something like a nice ribbon, or MD441. For as long as I can remember, I always like hearing a full bodied sound from acoustic guitar. Not just the sizzly top end. A lot of that comes from the instrument, but the microphone is also important. Obviously, SDC has their place and can also sound pretty full with the right setup. I thought the Upton sounded pretty good, there. And the SDC/LDC combo is a good recipe. I guess it really is, "what's it today" more than anything else. It's a hugely moving target. You have tried a KM84 on an acoustic? No, but I did own a KM184 for a while. That was by far my favorite SDC I have tried on acoustic guitars, I was using it a lot. I'm sure the KM84 is equally magical. The only reason I sold mine was to build a modern computer, I'm sure I'll get another one or two later.
|
|
|
Post by Martin John Butler on Mar 29, 2017 8:04:21 GMT -6
The KM84 has a pinch more bottom. It's not adding bloat, it actually has a little something the KM184 is missing. The KM184 is a great mic too, but that missing ingredient can bug you, once you know it's available in the original.
|
|
|
Post by jazznoise on Mar 29, 2017 8:23:35 GMT -6
I've never been a big fan of SDC acoustic guitar sounds, I seem to prefer the LDC mics. Or something like a nice ribbon, or MD441. For as long as I can remember, I always like hearing a full bodied sound from acoustic guitar. Not just the sizzly top end. A lot of that comes from the instrument, but the microphone is also important. Obviously, SDC has their place and can also sound pretty full with the right setup. I thought the Upton sounded pretty good, there. And the SDC/LDC combo is a good recipe. I guess it really is, "what's it today" more than anything else. It's a hugely moving target. It really depends on the context for me. My favorite acoustic guitar sound would probably be a nice pair of omnis backed off by 2 or 3 feet, but that's not always going to work. For big mixes, SDC's can help an acoustic guitar cut and for a singer/songwriter a ribbon or LDC can help give the guitar some 'fill' without adding instruments. Doing one in a few weeks with our singer and we're recording him in my bathroom - it's pretty big as this house is Georgian, so it's a converted bedroom. We'll do the usual fig 8's, but I'll probably add a stereo room pair just for some extra bounce. Wouldn't be for every project, but some things need to sound like that to get the specific emotional idea across.
|
|
|
Post by Guitar on Mar 29, 2017 8:27:54 GMT -6
The KM84 has a pinch more bottom. It's not adding bloat, it actually has a little something the KM184 is missing. The KM184 is a great mic too, but that missing ingredient can bug you, once you know it's available in the original. Yes, you can see that on the frequency response charts. The KM184 has a broad, shallow HPF that's a little more cutting than the one in the KM84.
|
|