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Post by kidvybes on Nov 30, 2015 12:10:26 GMT -6
I also don't pass judgement on his mixing skills. I feel as if your statement is dangerously close to passing judgement on his mixing skills based on a couple of single tracks hastily thrown up on a forum.. ...etiquette lessons from Svart?... ...listen, I'm really just trying to help M57 cut thru the process of sussing out the best mic...if being frank comes off too judgmental, I'm guilty...
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Post by Bob Olhsson on Nov 30, 2015 12:14:19 GMT -6
Beware that mike shootouts almost never reveal what I think are the three most important aspects to choosing a mike.
1. How good does it sound on absolutely anything so that the person being miked won't become bored?
2. What does it sound like in the context of a mix relative to other instruments and how well it takes processing?
3. What does it sound like on vocals without a wind screen? What does it sound like on kick drum with a windscreen?
A KM-84/86 has always won the first two. The third has often been a big surprise. I also assume every single mike will be shock-mounted. This includes putting the mike and stand on an isolation pad if need be.
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Post by M57 on Nov 30, 2015 12:42:12 GMT -6
First, I'm very appreciative of the level of honesty that I'm hearing from this crowd. I mean it. I'm finding it very thought-provoking and instructive in a productive way. Yes, my engineering skills are lacking, but I did put some thought into how to present these mics, and the 'path' that I chose was purposely one involving compromise. I used compression on the way in because ..well, that's how I plan on recording when I'm doing the real thing. I purposely did not present the tracks naked with no accompaniment because that's not how I'm doing the real thing. Yes, I understand the point is to be able to isolate and be critical of the mic, but I was cognizant of the 'what does it sound like in the mix' argument, so instead of throwing it in with a dense mix, I chose a 1+1 (a compromise). Did I use too much compression on the way in? Probably - I just bought the compressor a few months ago so I got a little carried away, but the tone of that compressor is likely going to be the standard for me at least for the near future. My intention was to knock a few db off the edges, not crush things. I can tell you that SoundCloud changed the way the mics sound MUCH more than the compressor did.
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Post by M57 on Nov 30, 2015 13:35:48 GMT -6
Beware that mike shootouts almost never reveal what I think are the three most important aspects to choosing a mike. 1. How good does it sound on absolutely anything so that the person being miked won't become bored? 2. What does it sound like in the context of a mix relative to other instruments and how well it takes processing? 3. What does it sound like on vocals without a wind screen? What does it sound like on kick drum with a windscreen? A KM-84/86 has always won the first two. The third has often been a big surprise. I also assume every single mike will be shock-mounted. This includes putting the mike and stand on an isolation pad if need be. This sounds like good advice for those who are managing a locker, but in my case I am shooting out these mics for a single specific instrument (me). I don't care about versatility, and I don't care how it sounds on a kick. I mentioned in a separate post about compromise where processing is concerned. The only one I didn't use a shockmount on was the GZ47, not that I see it as that important because I'll most likely NOT be using the mic when other instruments are playing in the room, and I don't tap my foot when I sing. Though now that you mention it, it just occurred to me that a shockmount is probably much more important where recording my piano is concerned.
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Post by Ward on Dec 1, 2015 9:44:15 GMT -6
...etiquette lessons from Svart?... Oh the ironical humor of it all!
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Post by miscend on Mar 31, 2016 15:22:11 GMT -6
My vote goes for the 3U Warbler MKID. It sounds better in the mix.
The GZ47 comes a close second.
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