Recent Posts

Vincent is that the latest Clarett Octo Pre you are talking about ? - Turramurra music in Sydney gave it a good rap as they also did for the Audient

Cheers, Ross

Or get someone really good to build to your exact requirements ; Rob Squire Pro- Harmonic in Adelaide (Sth Australia ) built mine- not digital though; maybe Jim Williams in the States?.

Cheers, Ross

This is possibly a topic for a new thread but I'll jump in here anyway; this concern you have HC is not really the mic's fault - I think I know where you are coming from ; initially it's an impressive sound but give it a production aesthetic of the more homogenous 50's / 60's / 70's tracks and it could be easier on the ear with possibly more lasting appeal and emotional impact. IMO the mic could deliver what you seek , it's just the digital reverb, close micing of guitar and vocal and performing the vocal after the backing is laid down production aesthetic that may have lead to a sound that you don't gel with.

You'r comments have triggered a reminder to me to return to striving for the sound to be integral to the feeling; not necessarily 'pin point' ; thank you.

Cheers, Ross

The TLM103 has been the proverbial internet forum shit fight for eons.... personally I wouldn't invest in one as they pinch and get nasally/ edgy on many vocal sources; having said that it gave a very expensive sound to a Samoan woman with a wide and mellow voice I borrowed it for years ago. In that instance it sounded like a very fine example of the Neumann line. Not versatile enough to drop dollars on though.

The 84 can be great positioned correctly as 'plosives will kill you otherwise and the early '80's 451 I also have has been used to cut a whole album with great results so it's horses for courses as usual.

Cheers, Ross

It's 25 years since I've used a 170 but thought it was a very fine mic without hype by and large whereas the 87 of that time in comparison was substantially brighter and thus sibilant. The 89 was the poor cousin to my ears.
Not sure if this is apocryphal but Karen Carpenter used an 87 and you'd never say no to that sound/
FWIW
Cheers

Check your lead between mic and PSU is seated properly. That can do it.
Cheers

The U67 re-issue will be out soon and there'll be peace in the Redd world - speculators/ diss merchants will leave off and shift to the Neumann.

Me, I'll have one (or 2) of each thanks!

Cheers

The DI decision is not worth worrying over, as you say; it's easy to do so why not. There are times in a multi mic situation like that where i've actually used the DI (or wished I had one) simply because the perceived wisdom of the mic 'must be better" in fact wasn't - because the player moved or the mic wasn't as good a fit as I thought etc.- the biggest issue to tame on the cello and acoustic as others have alluded to is that potentially uneven bottom end. It can never truly be eq'd after the event IME so mic choice and placement are critical and will come beck to bite you on the backside if you cut corners.

Nulls are good and a well placed 87 style (I use the Stam 87) on the Cello keeping that bow scratch in mind works well. With a cardioid small diaphragm on the acoustic you may find the distance you need it away from the body means it will pick up too much of the bleed, again a fig 8 may or may not be best in the circumstance.

There are no hard and fast rules for getting this right except have options ready to go and experiment as much as the players energy will allow.

Cheers, Ross

Are you intimating the dog did you a favour John?

Congrats on the build Monkey xx - great work.

Cheers, Ross

Does Joshua sleep? How he gets all these differing and demanding products up and running is amazing to me. Having said that, I reckon with those who are still waiting for things after a lengthy time and the less than accurate availability dates and innaccuracies on his site, I would be happier to see him not spread himself so thin and actually complete stuff before announcing new. it causes me to pause in ordering more.

Having said that, I very much like the SA 87 I have as well as the well intentioned communication I had with Joshua and am particularly interested how his 67 stacks up against the Neumann re-issue.

And.........I reckon I want/need his 4000, LA 2, 67, Pultec x2 !

Just my ramblings....

Cheers, Ross

My first question as it is for any i-mac , is ; what's the noise like. You would expect with processing power like that , there's a lot of heat generated.

cheers. Ross

I do agree with Svart about Omnis and extraneous noises however for me it's part of the general shit fight that is recording acoustics almost irrespective of mic pattern. FWIW , the biggest determinant in a great acoustic sound (after the player and the instrument) is a well chosen location.
Being able to move the mic/mics a little further out can cut the worry about clothes rustle/pick noise etc and offer a wider and truer perspective if that's what you are after - it can all be a matter of inches on your way to feast or famine!

Cheers, Ross