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Post by hadaja on Mar 17, 2017 17:52:18 GMT -6
I have been going through a ribbon phase. I am contemplating (possible delusion dreaming) of getting an RCA 44 and/or incarnation for use with predominantly Acoustic duties and Vocals. Does any one have success using this for Vocals? There has been some reviews talking about the huge proximity effect when using 44 incarnations with Vocals up close, so I am wondering if that necessitates a good acoustic room to compensate a further distance for recording. What 44 and/or 44 variations/clones have people here found useful in there actual experiences? Thanks
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Post by spock on Mar 17, 2017 18:19:35 GMT -6
I have been going through a ribbon phase. I am contemplating (possible delusion dreaming) of getting an RCA 44 and/or incarnation for use with predominantly Acoustic duties and Vocals. Does any one have success using this for Vocals? There has been some reviews talking about the huge proximity effect when using 44 incarnations with Vocals up close, so I am wondering if that necessitates a good acoustic room to compensate a further distance for recording. What 44 and/or 44 variations/clones have people here found useful in there actual experiences? Thanks Great mics, it has a sound... also distance or a decent size room helps.
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Post by c0rtland on Mar 17, 2017 19:49:07 GMT -6
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Post by johneppstein on Mar 17, 2017 20:34:03 GMT -6
Don't forget to secure a pencil vertically in the middle of the grille with a couple of rubber bands. The pencil provides a "phase plug" the splits and diverts the pressure transient from p-pops and like artifacts from heading straight for your ribbon and can save both your ribbon and your recording.
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Post by hadaja on Mar 17, 2017 22:40:55 GMT -6
I have heard of the pencil technique on LDC but never really thought about it on ribbons mics. I shall lock that one away in the vault for when it arrives. Thanks
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Post by wiz on Mar 18, 2017 1:07:26 GMT -6
When I recorded at Sun in Memphis... the vocal mic was a RCA 44. It was great!
My YouTube channel (wizofozland) has two videos done with that mic.
Cheers
Wiz
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Post by johneppstein on Mar 18, 2017 1:37:49 GMT -6
I have heard of the pencil technique on LDC but never really thought about it on ribbons mics. I shall lock that one away in the vault for when it arrives. Thanks The pencil technioque is not for LDCs - if you think about it it makes no real sense with that type of capsule. It originated in the '40s or '50s when all the US studios used RCA ribbons. The pencil is just the right size to protect the long RCA ribbon from blasts. The thing about using it on LDCs comes from young guys (my age and younger) who read about it in gear mags without understanding the physical differences between a ribbon motor and an LDC capsule. It's since been passed down as a bit of folklore without people really thinking about what they're doing.
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Post by EmRR on Mar 18, 2017 5:50:35 GMT -6
The low rolloff (if your model has it; it's internal) may be your friend. I had a 44-B on loan for awhile that I don't think has the roll-off, and you'd notice proximity effect at less than 3 feet away. Great mic. But....I could also do punch-ins on it with a Fathead and not really detect a difference. The RCA probably had original ribbon, the Fathead definitely did. Who knows. Like to have another around.
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Post by nick8801 on Mar 18, 2017 9:46:57 GMT -6
I would looooove a pair of these. But.....they really need a good size space to show their true beauty.
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Post by EmRR on Mar 18, 2017 10:09:18 GMT -6
If for no other reason, you need a good size space to hold the stand that's big enough to hold one. They'll pull a big heavy base Atlas stand with a 5 pound counterweight over if you aren't careful.
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Post by Coil Audio on Mar 18, 2017 13:23:12 GMT -6
I have been going through a ribbon phase. I am contemplating (possible delusion dreaming) of getting an RCA 44 and/or incarnation for use with predominantly Acoustic duties and Vocals. Does any one have success using this for Vocals? There has been some reviews talking about the huge proximity effect when using 44 incarnations with Vocals up close, so I am wondering if that necessitates a good acoustic room to compensate a further distance for recording. What 44 and/or 44 variations/clones have people here found useful in there actual experiences? Thanks Do yourself a favor and checkout the Stager SR1A - its an incredible mic and IMHO mops the floor with anything AEA has to offer these days. Side by side - its a no-brainer. Its also Made in the USA! Also - as with any ribbon - make sure you have a good preamp to use with it (preferably not SS)
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Post by hadaja on Mar 18, 2017 13:42:55 GMT -6
I actually own his Stager SR2N mic and think it has a great modern sound. I have touch base with him about the sr1 but they are only made in small batches. I do intend to get one of his as a backup plan if the 44 scenario does not work out. Why are there very littlereviews onthis mic?
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Post by mitchkricun on Mar 18, 2017 13:55:12 GMT -6
One of my all time favorite vocal mics! You will need to stand 2'-3' away, but I never had an issue tracking in a smaller room. Just lovely. Good luck!
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Post by Coil Audio on Mar 18, 2017 14:46:47 GMT -6
I actually own his Stager SR2N mic and think it has a great modern sound. I have touch base with him about the sr1 but they are only made in small batches. I do intend to get one of his as a backup plan if the 44 scenario does not work out. Why are there very littlereviews onthis mic? Matt is a one-man team and a well seasoned touring FOH engineer. The amount of work and attention to detail that goes into building both of those mics is incredible. You wont find any overseas anything in there - no special corrective zobel circuitry hiding under the hood - Just pure simplicity. So the extra time to deal with reviews/marketing (which i personally abhor and understand) probably hasnt been there for him until lately. I dont miss my Coles with the SR2Ns' - and i dont miss the 44 AT ALL with the SR1A, so dont hesitate if thats where the road is leading you. You wont be disappointed.
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Post by johneppstein on Mar 18, 2017 15:14:57 GMT -6
If for no other reason, you need a good size space to hold the stand that's big enough to hold one. They'll pull a big heavy base Atlas stand with a 5 pound counterweight over if you aren't careful. LATCH LAKE!
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Post by jeremygillespie on Mar 18, 2017 15:23:53 GMT -6
44 can be really nice on vocals. And it can dirty up in a really cool way as well.
I produced and tracked an album by a guy Shayfer James called Haunted Things and the 44 was the vocal mic for all the tracks. Check it out on spotify etc
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Post by ChaseUTB on Mar 18, 2017 17:16:07 GMT -6
If for no other reason, you need a good size space to hold the stand that's big enough to hold one. They'll pull a big heavy base Atlas stand with a 5 pound counterweight over if you aren't careful. LATCH LAKE! Who in this industry can afford multiple $750 stands nowadays? I sure can't 😥🤠( I wish I could )
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Post by drbill on Mar 18, 2017 20:07:37 GMT -6
Nothing sounds like an RCA - 44 or a 77. One of the most identifiable vocal sounds out there of any mic ever made. The two (44/77) are certainly different though, and each their own unique beasts, but they definitely share common DNA. Nothing modern comes close, although the AEA's 44's are pretty much there as in essence they are essentially 44's. RCA's have "a sound" and if you like / want that sound there is no substitute IMO. It's not my #1 sound, but I love it nonetheless. Instant 1940's if that's what your after. Add some EQ and you can bounce ahead several decades.
As for the room issue - I think it's not so much that a large room is NEEDED - it's that so many small rooms sound bad and boxy, which a 44 will certainly accentuate. If you're got a good sounding treated small room, I think you'll be OK.
For horns and especially saxes, they are awesome. Especially the 77's.
I just found out that one of my awesome mentors - Ronnie Capone - used 77's on all the seminal Hammond/Leslie sessions @ Stax in the early days. (Booker T, Sam n Dave, Otis, Staples, etc..)
I need one more 77, and hopefully someday a 44. Basics first.
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Post by johneppstein on Mar 18, 2017 20:42:34 GMT -6
Who in this industry can afford multiple $750 stands nowadays? I sure can't 😥🤠( I wish I could ) Who in this industry can afford multiple RCA 44s these days? I do have one of their "medium" size stands that I got at an AES show discount. Great stand! A bit large for a lot of stuff though....
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Post by bluegrassdan on Mar 18, 2017 23:44:40 GMT -6
Had one and sold it.
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Post by hadaja on Mar 19, 2017 0:00:04 GMT -6
bluegrassdan what did you like about it and what didn't you like about it?
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Post by bluegrassdan on Mar 19, 2017 9:44:16 GMT -6
It's like Drbill said above. Nothing else does what a 44 does. It can make a thin vocal sound like the voice of God from 3 feet away, but you'll need some eq to give it some brightness. Even then, the brightness you EQ in can be kind of metallic and not smooth like a good LDC.
Another problem with the originals is how they pick up RF noise and other stray interference. There were times when I couldn't use mine at all due to the inherent design flaw. Even our AEA has this problem, and the old timers can be really bad and unusable in certain locations.
You might look at the AEA version with the preamp built in. Haven't used it, but I suspect it may help in this regard.
I sold mine for a Flea 47 and do not regret it. I may own one again, but only after I add a few more condensers to my locker.
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Post by bluegrassdan on Mar 19, 2017 9:45:38 GMT -6
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Post by bluegrassdan on Mar 19, 2017 9:48:29 GMT -6
I added quite a bit of high shelf for that video. Listen closely and you'll hear some noise.
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Post by nick8801 on Mar 19, 2017 10:04:24 GMT -6
I added quite a bit of high shelf for that video. Listen closely and you'll hear some noise. Is your YouTube channel also Bluegrass Dan? I've seen your vid with the Soyuz and the 1073. It' sounds killer!
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