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Post by drew571 on Jan 26, 2018 14:05:01 GMT -6
I feel like the 87ai is more focused and blended in the mix better on both examples. I think the top end is what's bothering me. Redd is still fantastic and would likely sound better IMO on some different sources. They need an input jack on that mic so u could hook up another mic to the built in preamp.
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Post by EmRR on Jan 26, 2018 14:30:09 GMT -6
They need an input jack on that mic so u could hook up another mic to the built in preamp. Sigh......not possible for very clear technical reasons......this has been discussed a lot......part of the fault is their misleading ad copy, which people seem to either understand, or claim it's not misleading because they don't understand.
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Post by Ward on Jan 28, 2018 9:36:15 GMT -6
I got it finished today! It's a little long, but enjoy. In all instances, m the REDD with the low contour engaged just LOVES your voice. The normal mode REDD likes it a lot, and the U87ai works but it's a little indifferent. Capiche?
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Post by Vincent R. on Jan 28, 2018 10:53:28 GMT -6
I got it finished today! It's a little long, but enjoy. In all instances, m the REDD with the low contour engaged just LOVES your voice. The normal mode REDD likes it a lot, and the U87ai works but it's a little indifferent. Capiche? That’s funny. I actually felt the same way, that on my voice the low contour really worked well. The standard mode could get a little beefy the same way I feel a U47 gets a little beefy on my voice, and the U87ai just works, but something is missing. My voice has a beefy mid range that in the REDD in normal gets accentuated more than I would like and that is missing from the U87. Been having fun with my FleA49 though. That has the sound I really wanted on my voice, even if it is a tad colored. More on that in another video.
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Post by chessparov on Jan 28, 2018 11:08:40 GMT -6
Hey Vincent. Recently, I saw some of your YouTube videos... I know I'm "stating the obvious", but what a voice! Thanks for doing those. Chris
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Post by Vincent R. on Jan 28, 2018 11:45:26 GMT -6
Hey Vincent. Recently, I saw some of your YouTube videos... I know I'm "stating the obvious", but what a voice! Thanks for doing those. Chris Thanks Chris. I really love this stuff. Hearing other people's videos has always been helpful to me. So, I thought it would be fun to make some of my own, especially with microphones that don't have a lot of info out there.
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Post by spock on Feb 24, 2018 11:02:07 GMT -6
Just adding here... another track using the REDD Microphone, this time Vance Joy "I'm With You", used on Vocal and Acoustic Guitar as engineered and mixed by Ryan Hewitt; details to come.
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Post by Martin John Butler on Feb 24, 2018 11:31:29 GMT -6
Sounds lovely.
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Post by jcoutu1 on Feb 24, 2018 16:17:27 GMT -6
Just adding here... another track using the REDD Microphone, this time Vance Joy "I'm With You", used on Vocal and Acoustic Guitar as engineered and mixed by Ryan Hewitt; details to come. Does the whole record use the REDD for vox?
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Post by spock on Feb 24, 2018 17:07:04 GMT -6
jcoutu1 I think just this track that Ryan did. It’s the same mic that was used on the Green Day & Miranda Lambert duet.
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Post by Guitar on Feb 24, 2018 17:08:55 GMT -6
Sounds perfect, haha. Beyond any reproach.
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Post by happychap on Feb 24, 2018 18:46:39 GMT -6
Regarding the Vance Joy track- do you guys have any problems with the way that track sounds? Or would that be the type of sound you'd want for that track?
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Post by spock on Feb 24, 2018 20:52:43 GMT -6
Regrading the Vance Joy track- do you guys have any problems with the way that track sounds? Or would that be the type of sound you'd want for that track? It’s what the artist, producer and engineer went for; I’ll have more details soon. However, the REDD Microphone’s tone/color or signature is variable dependent on the combination of settings - normal gain staging vs overdrive (and where the gain is set), standard voicing, low-contour and pattern. It’s up to you... if you want to saturate or layback, focus or define the bottom etc...
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Post by happychap on Feb 24, 2018 21:13:51 GMT -6
What I want to know is how people feel about this sound. Is it a sound that you could listen to through headphones for 1-2 hours?
My opinion? It sounds really good- like...really good. I'm just not sure that I'd want a whole record to sound like that. And yes, of course, production decisions...with that in mind, take a listen to Jason Isbell's recent stuff (4038 on Vox and guitar) and tell me which sound you'd want to have stuck on your ears for an extended time. After you adjust to the initial dullness and room sound of a track like 'Speed Trap Town,' the sound is just there. The Vance Joy track is pretty demanding, IMO.
But maybe that means I should stop listening to music on headphones! Seriously...
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ericn
Temp
Balance Engineer
Posts: 14,957
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Post by ericn on Feb 24, 2018 22:29:54 GMT -6
What I want to know is how people feel about this sound. Is it a sound that you could listen to through headphones for 1-2 hours? My opinion? It sounds really good- like...really good. I'm just not sure that I'd want a whole record to sound like that. And yes, of course, production decisions...with that in mind, take a listen to Jason Isbell's recent stuff (4038 on Vox and guitar) and tell me which sound you'd want to have stuck on your ears for an extended time. After you adjust to the initial dullness and room sound of a track like 'Speed Trap Town,' the sound is just there. The Vance Joy track is pretty demanding, IMO. But maybe that means I should stop listening to music on headphones! Seriously... I get what your saying but, the role of producer is decieding do I want and will consist sonic texture through the album more important / better than looking at each track as separate work? Some of the albums I reach for every day and put on for artists to get an idea of where I’m coming from fall into each camp? Am I inconsistent? No it’s about what works for everybody on THAT PROJECT! So what I’m saying is as a producer don’t go in with preconceived ideas, this is an organic thing. Now as an engineer some of the most rewarding, but difficult project are those where the artist/ producer has an idea of what everything should sound like in their head and you need to pull that idea out into sonic reality, but that’s what the client is paying for.
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Post by Martin John Butler on Feb 24, 2018 22:40:44 GMT -6
Welcome to the forum happychap!
The tracks I did with the REDD still sound good to me months after I returned it. (* It was only here on loan for a week). In fact, they hold up better than all the tracks I did with a half dozen other high end mics. Headphones are great for checking balance and soundstage, but not so great for judging mics.
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Post by happychap on Feb 25, 2018 0:12:23 GMT -6
Perhaps I'm not being clear- my fault. I use headphones (AT M-50's among others) to listen to music- they are my primary mode of listening. And oft times, headphones/earbuds will expose more than you want to hear. It is the rawest form of audio consumption, and I don't mean raw in the best way (I don't think headphones are good for you). Yet, that is how millions of folks listen to music. So that is the context.
'In your face' vocals can get tiring on 'phones. Combine the very forward and present tonality of the redd with the 'in your face' production and I find myself wishing for something a bit easier on the ears. Again, in comparison to other recordings (the aforementioned Isbell being one).
It is a matter of taste. I personally appreciate productions that have softer edges.
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Post by reddirt on Feb 25, 2018 5:49:56 GMT -6
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
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Post by happychap on Feb 25, 2018 8:54:49 GMT -6
That's it, Ross...exactly. And I am by no means dissing the redd- on the contrary, it sounds incredible. Like Hi-Definition.
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Post by joseph on Feb 25, 2018 9:20:04 GMT -6
That's it, Ross...exactly. And I am by no means dissing the redd- on the contrary, it sounds incredible. Like Hi-Definition. No, I feel the same way about almost all the REDD male vocal examples I've heard, sounds too forward and has a bit of an emphasis on the transition from upper mids to highs. I wouldn't say it's sibilant though, just kinda calls attention to the vocal in a way I don't like. Reminds me a bit of some of the nicer Brauner mics but with more color. The big phase shift on a CK12 is higher up. For my taste, I just prefer other mics that don't have this emphasis, particularly for acoustic or indie music. But for modern production stuff with dense mixes or torch stuff it's pretty ideal. I do wonder whether a lot of this could be changed with positioning and people are just close miking the hell out of their shiny new mic, the REDD may sound better with a little more distance. Like Vincent's examples sounded better to me.
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Post by drsax on Feb 25, 2018 10:15:03 GMT -6
Just adding here... another track using the REDD Microphone, this time Vance Joy "I'm With You", used on Vocal and Acoustic Guitar as engineered and mixed by Ryan Hewitt; details to come. Sounds stellar and very pleasing to my ear. Fantastic
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Post by jcoutu1 on Feb 25, 2018 11:06:36 GMT -6
Regarding the Vance Joy track- do you guys have any problems with the way that track sounds? Or would that be the type of sound you'd want for that track? For me, at the end where he starts to get loud, it breaks up too much for my taste. I expect it was an artistic choice, but not one I would have made.
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Post by adamjbrass on Feb 25, 2018 14:01:43 GMT -6
What I want to know is how people feel about this sound. Is it a sound that you could listen to through headphones for 1-2 hours? My opinion? It sounds really good- like...really good. I'm just not sure that I'd want a whole record to sound like that. And yes, of course, production decisions...with that in mind, take a listen to Jason Isbell's recent stuff (4038 on Vox and guitar) and tell me which sound you'd want to have stuck on your ears for an extended time. After you adjust to the initial dullness and room sound of a track like 'Speed Trap Town,' the sound is just there. The Vance Joy track is pretty demanding, IMO. But maybe that means I should stop listening to music on headphones! Seriously... I want to listen to the mic all day long,
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Post by happychap on Feb 25, 2018 14:47:57 GMT -6
Ummm...do you want to listen to the microphone all day long? Or do you want to listen to Vance Joy all day long?
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Post by EmRR on Feb 25, 2018 15:44:03 GMT -6
I do prefer a pretty good degree of crest factor in the dynamic range. Especially on headphones or high sensitivity speakers.
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