Post by popmann on Jun 23, 2023 20:21:45 GMT -6
I did a quick compare in the DAW...RefC would be what I'd choose. The 67 is distorting the esses...the RefC isn't...it has loud clean esses, like most any condenser mic will--tube change in the 67 might fix that, since distortion is most LIKELY at the tube stage--but, not a sure thing. Anyway--a loud ess isn't a problem like a distorted one is...
I can make these fairly interchangeable pretty quickly--but the Sm7 needed extra top, oddly upper mids, low cutting...AND a little "air" distortion. The 67 you'd likely want to get the ugly esses gone--and there's SO much 1-1.5khz'ish in there that needs "Deboxing"...I literally just put a low bump into a slow compressor pulling very little on the Manley and was fine with it. I didn't feel any need to deess it--does that mean that I might not manually grab a consonant here or there in the final stages? No. But, I didn't hear anything bothering me.
Now--caveat--the really low notes, where your air supply is faltering, speak best with the "boxy" 67. So, if you sing more down there on the regular--that might be worth hanging onto and working out where the distortion is happening because it makes it sound stronger. But, I'd also encourage you to punch those lines and sing what you think is "way too much through your nose" with a full breath. Listen back and adjust if you want too far into nasal. You might be surprised when you hear playback, though. Always better to get the source fix rather that rely on the mic to band aid it, IMO/E.
But, I could work with any of these. The 67 here would probably be the darkest in final presentation due to it's problematic distortions. Which is odd for a 67...but...you know...YMMV.
I can make these fairly interchangeable pretty quickly--but the Sm7 needed extra top, oddly upper mids, low cutting...AND a little "air" distortion. The 67 you'd likely want to get the ugly esses gone--and there's SO much 1-1.5khz'ish in there that needs "Deboxing"...I literally just put a low bump into a slow compressor pulling very little on the Manley and was fine with it. I didn't feel any need to deess it--does that mean that I might not manually grab a consonant here or there in the final stages? No. But, I didn't hear anything bothering me.
Now--caveat--the really low notes, where your air supply is faltering, speak best with the "boxy" 67. So, if you sing more down there on the regular--that might be worth hanging onto and working out where the distortion is happening because it makes it sound stronger. But, I'd also encourage you to punch those lines and sing what you think is "way too much through your nose" with a full breath. Listen back and adjust if you want too far into nasal. You might be surprised when you hear playback, though. Always better to get the source fix rather that rely on the mic to band aid it, IMO/E.
But, I could work with any of these. The 67 here would probably be the darkest in final presentation due to it's problematic distortions. Which is odd for a 67...but...you know...YMMV.