Even in a demo they knew (like Max Martin and pop producers today) that it lives and dies on that forward vocal. Everything else is part of a backing track. It illustrates how ingrained that sensibility is to writing popular music.
I have a pair of Quad Eight MM403 preamps the same module used by Howard Benson on all of Chris Daughtry's stuff. I am letting one go if anyone is interested in a great sounding channel.
It has the same input amplifiers and EQ section as the famous Quad Eight 312 series. With additional Fet based HP and LP filters and phase reverse. All Quad Eight input and output transformers. Mic input, line, input and output. 30db gain range on gain pot, max 70db gain on mic input and output level fader. Pad and phantom power. Fully recapped and serviced. You will need a power supply. $1,000
Last Edit: Jun 15, 2017 17:36:57 GMT -6 by yotonic
There is something special about blues musicians. They honestly don't need instruments (and never did), but they know what to do with them. There is an independence between the vocal and the instrument but most importantly a stripped down honesty and respect to the the history and tradition of the blues that is naked and humbling. No effects, no pop, no tricks. Just singing the same songs that have been sung for the past 100 years, and if your soul is moved then the singer has succeeded. The tradition of blues started acapella and without accompaniment, you can see the impact it has had on pop music today, where most hits are completely built upon simple melodic vocal hooks that can stand independent of the backing track. If a singer can't sing the blues they will never connect with Americans. Here is one of England's biggest pop stars ripping some blues runs on her number 1 smash.
I own the SM7, 1073, chain and I can hear and recognize the difference, especially in the tails. But what does it matter really.... especially today. It bothers me that manufacturers use these famous producers to "sell" this stuff like Viagra. It feels slightly exploitative and insulting. What is the point of these "shootouts". It's not aimed at the 1% of guys who make records for a living, they aren't dumping their hardware. I'm assuming it's aimed at the average lay person, musician, small studio, and the message is this will make "someone's demos" sound 4% better. Who can really hear the difference? and what does that infinitesimal amount matter if you aren't making records for a living?
Now that the bottom has dropped out of their industry it feels like manufacturers are increasingly taking advantage of people. They know 80% of their customers have no professional need for what they are selling.
Pro Audio is becoming like Wilson Combat. Buy a bunch of expensive shit you will never need, and never use. The current state of computer audio is already more than good enough for 99% of the people who will use it. And the other 1% who are making records for a living (even though they are increasingly one man operations) aren't about to sell off all of their hardware. The only guys who professionally need that subtle difference between a vintage 1073 and a plugin will keep the outboard gear to make sure they can steal work away from Jacquire. LOL
If you want to sell us middle aged men a bunch of shit we "really don't need" don't blow smoke up our ass. Just say... "this shit is cool, it's like the real M16s the Seals carry in actual combat" and it's fun to own.
I think the MK-47 is the single tube predecessor to the dual tube MKU-47. I have a MK-47 with a Flea capsule I got from Yotonic last year. He told me it was built by Toby Foster, with PS mods by Scott Hampton. I have no idea what tweaks they made, but it sure sounds good. No noise issues, although it's not quite the same mic as what's being discussed here. I offer this because it may support Svart's point that little variations in the published design might make the mic quieter and more stable, accepting a wider range of tubes.
Hey Spence you are correct, Toby and Scott made a number of modifications to Max's "design". Toby has worked on my vintage Neumann U47 as well as many of other people's U47s. Not only did the power supply require some modifications by Scott, but Toby made some tweaks where he noticed potential issues. That mic you have (which I want back!) ranks right up there with my favorite 47s - Long body Neumann and Voxorama. Guys like Toby Foster and Andreas Grosser have so much experience working with mics and are so fairly priced in today's market that I would never do anything without them.
Last Edit: May 15, 2017 20:51:59 GMT -6 by yotonic
My FOH engineer just came off tour with Panic At The Disco and didn't know I had bought a few of these. He was floored. In a live setting the 219 SC just bested everything else we put up against it. I don't know what they are doing but the mic has a uniquely tight sound that seemed to actually compensate for room anomalies while keeping a familiar frequency response curve. It's not cheap but worth it all day. I can't tell you how many times an opner or headliner traveling with their own mic kit will try it and say "wow, give me that".
Any guy who has Moog synths and an MS-20 in his man cave is a kick ass guy! You were lucky to have a great brother!
Living in Manchester and loving electronic music means that CD collection of his is probably like a historical timeline of electronica. I bet I could guess a few of those titles. I have Moog synths and an MS-10 in my man cave, so I'm sending my prayers for Rob.
I've met him a couple times he's a different cat, I honestly wasn't sure if he was pulling an "Andy Kaufman" or not. He certainly is fully immersed in his character, I hope he comes out the the other side in one piece. His band is great, and people who "get him" love him, like super fans. He has tapped into that cult following very quickly.
The kid plays a few instruments well, sings pretty damn good, and seems to be writing pretty well. I just heard some work tracks of his from a buddy that works with him and I was impressed. Gonna see him live in December.
Billboard seems to be making a living out of stating the obvious. I use Mediabase in my job, and you can hear rock, Americana, roots and everything else increasingly in the charts. Just saw the Brothers Osborne tonight, love these guys and their sound doesn't need a Billboard buzzword, customers "get it". And love it.