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Post by spock on Mar 17, 2019 16:49:19 GMT -6
I would like to get the REDD mic separate from the preamp. Maybe a preamp-less REDD? Or a package deal with the REDD-less mic preamp with the external preamp in one box? That would be cool! They are one in the same, it’s all one unit, the mic is the pre is the mic.
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Post by drsax on Mar 17, 2019 16:50:50 GMT -6
I would like to get the REDD mic separate from the preamp. Maybe a preamp-less REDD? Or a package deal with the REDD-less mic preamp with the external preamp in one box? That would be cool! I’m guessing a TG Mic into the mic pre your choice would be pretty close to what you are asking for. And the TG Mic has so many options to tailor the sound for whatever you need. What say you spock ? Although the two mics are not the same, they share the same designer and when I heard them back to back, they were both just stunning. With that said, the REDD Mic is the crown jewel of them IMO. A studio sonic centerpiece. And IMO, the most portable zero compromise world class mic/pre combo on earth. It all fits in one mic case. And FYI, the case the REDD Mic comes with is super high quality and perfect to travel with.
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Post by spock on Mar 17, 2019 16:53:59 GMT -6
I would like to get the REDD mic separate from the preamp. Maybe a preamp-less REDD? Or a package deal with the REDD-less mic preamp with the external preamp in one box? That would be cool! I’m guessing a TG Mic into the mic pre your choice would be pretty much that. What say you spock ? Although the two mics are not the same, they share the same designer and when I heard them back to back, they were both just stunning. With that said, the REDD Mic is the crown jewel of them IMO. A studio sonic centerpiece. And IMO, the most portable zero compromise world class mic/pre combo on earth. It all fits in one mic case. And FYI, the case the REDD Mic comes with is super high quality and perfect to travel with. Totally different design, though in the same league performance wise. Long live Celine!
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Post by clumsycongregation on Mar 17, 2019 17:07:55 GMT -6
Hey guys, just a a couple quick note on the REDD Microphones. The REDD Mic is pure transmission due to the design and is capturing the detail for the source in the room from top to bottom all the information is captured, giving the engineer the power to take away what they don't want or need; drsax can chime in on how he easily tames the top detail via a subtle shelf at about 6k. The REDD Mic is almost like a scientific instrument, it's uncanny how it can reveal a lot about what's going on in your environment and even your studio's electronics path; I've experienced this multiple times with REDD owners. The REDD preamp is always there, because the REDD.47 is the mic. When you send it into an external preamp, you can blend between the REDD and external preamp to great effect. For example, a if pugging the REDD Mic's line level output into another preamp, you'd be coming at about 1k times hotter than mic level to clean it up by setting the external preamp to 'line' level and then blend between the REDD's gain and the outboard preamps gain. However, if for example you want to intentionally overdrive the external preamp, then by all means keep the outboard preamp set to mic level and now you're in quasi Revolution mode...in fact if you did this with a REDD.47 rack mount preamp, you'd be tantamount to Revolution in using one REDD.47 preamp to overdrive a second one; real awesome combination for massive drum distortion! Hope all that helps! As spock (Adam) mentioned, I have found when recording with the REDD Mic, that if you want a more vintage style sound, ala 67, take a high shelf with a gentle slope from 5 or 6kHz and up, and pull the highs back 6-10dB. It is shockingly good that way and does not sound “eq’ed” or veiled like most mics would be with that drastic of a cut. It also works great with a tilt style EQ that boosts lows and pulls back highs evenly. It’s really a thing of beauty. It sounds amazing flat, and it sounds amazing eq’ed. It’s the most versatile LDC I have ever used. And the internal preamp has never made me feel restricted. But, as many have already commented, it also works great with other mic pres as well. Yup. I have to back you up on this. A week into owning the REDD I had already made Pro-Q default preset with high-shelf (and in my case a low shelf as well). That brought the sonic signature closer to my U99 or 47 clone. great mic.
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Post by Martin John Butler on Mar 17, 2019 19:10:07 GMT -6
But I think the way the REDD achieves its sound is because of the preamp, even when turned down and used with a different pre.
Dr Sax, how would you recommend I go about pulling back the highs as you mentioned?
Would I just use channel EQ in Logic and roll it off. Would I use a plug-in emulation of an API or Neve EQ, or would I use a hardware EQ before printing?
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Post by drsax on Mar 17, 2019 21:25:50 GMT -6
But I think the way the REDD achieves its sound is because of the preamp, even when turned down and used with a different pre. Dr Sax, how would you recommend I go about pulling back the highs as you mentioned? Would I just use channel EQ in Logic and roll it off. Would I use a plug-in emulation of an API or Neve EQ, or would I use a hardware EQ before printing? almost any good EQ is fine, plugin or hardware. I’ve used ProQ2 or when tracking through my Apollo, the UAD Cambridge and it works great. I’ve used my Outboard BAE/Neve EQ as well, but any good quality clean EQ plugin works just fine. I wouldn’t hesitate to color it up with some API or Neve Outboard EQ’s either. As to whether you do this while tracking or in the mix, it just depends on what you want to hear when you’re recording. I’ve done it both ways, while tracking or in the mix and it works fine either way.
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Post by Martin John Butler on Mar 17, 2019 21:56:34 GMT -6
Thank you sir! I'd probably try one of the UAD EQ's in console and print instead of adding EQ later.
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Post by Dr. Loudness on May 10, 2019 15:05:38 GMT -6
Redd is an stellar microphone. Here with a Neumann U67 (1965) in a vocal session yesterday at my studio. For me it is a combination of many of the characteristics of the classic microphones along with the modernity that can be attributed to a microphone of the style of a Sony C800g. I have the REDD mic recently and I am very pleasantly surprised. Thanks to everyone in this post because have helped me to decide.
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Post by chessparov on May 10, 2019 18:43:24 GMT -6
Feel free to post any audio clips! Chris
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Post by spock on Nov 25, 2019 15:52:29 GMT -6
Just adding here... Taylor Swift on the REDD Mic for "Beautiful Ghosts," from the "Cats" motion picture soundtrack; produced by Greg Wells and engineered by Pete Cobbin. Happy Holidays...
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Post by drsax on Nov 25, 2019 16:29:24 GMT -6
Just adding here... Taylor Swift on the REDD Mic for "Beautiful Ghosts," from the "Cats" motion picture soundtrack; produced by Greg Wells and engineered by Pete Cobbin. Happy Holidays... sounds excellent!
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Post by drsax on Nov 25, 2019 16:31:22 GMT -6
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Post by spock on Nov 25, 2019 16:51:05 GMT -6
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Post by chessparov on Nov 25, 2019 22:15:58 GMT -6
Just adding here... Taylor Swift on the REDD Mic for "Beautiful Ghosts," from the "Cats" motion picture soundtrack; produced by Greg Wells and engineered by Pete Cobbin. Happy Holidays... sounds excellent! Pretty swift too! Chris
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Post by kcatthedog on Nov 26, 2019 6:14:32 GMT -6
Nice, but $6400 cdn , plus almost 15% in retail taxes: guess Taylor could afford 2 as earrings ?
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Post by timcampbell on Nov 26, 2019 7:17:57 GMT -6
I am sure I am in the minority and certainly these guys do stellar work but man I hate this vocal sound (Taylor Swift). This hyped, breathiness to give it some kind of intimacy completely rubs me the wrong way. It's a bit like approximating a live stage performance. It makes me wonder how the song may have sounded if they had used a more straight forward, Whitney Houston kind of vocal chain.
I don't mean this as a criticism of this mic, only the finished vocal sound.
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Post by drsax on Nov 26, 2019 9:54:44 GMT -6
I am sure I am in the minority and certainly these guys do stellar work but man I hate this vocal sound (Taylor Swift). This hyped, breathiness to give it some kind of intimacy completely rubs me the wrong way. It's a bit like approximating a live stage performance. It makes me wonder how the song may have sounded if they had used a more straight forward, Whitney Houston kind of vocal chain. I don't mean this as a criticism of this mic, only the finished vocal sound. They did process her vocal very brightly. Based on my experience using this mic, I don’t think it was the mic, I think it they just deliberately eq’ed it bright. I also personally favor fuller, less processed sounds than this. But I think the detail captured through the REDD is incredible. The REDD MIC takes processing better than any mic over ever used. I’ve used it on bright sources like saxophone, which is easily one of the most difficult instruments to record in regards to dealing with brightness, and with the REDD I’ve been able to get very lush, warm, full results. I think the beauty of the REDD is similar to all I’ve heard about your CK12 capsule Tim. Extended but natural, full, and not strident but sweet in the highs. At the end of the day it’s really how these tools are used. I too would have gone for a different mixed vocal sound. I’m certain that hype we’re hearing is not from the mic itself but in the processing after the fact.
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Post by aremos on Nov 26, 2019 10:30:46 GMT -6
Doesn't bother me. Actually they made her vox sound much better & in a little higher range than what I've heard before.
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Post by Ward on Nov 26, 2019 11:49:42 GMT -6
I am sure I am in the minority and certainly these guys do stellar work but man I hate this vocal sound (Taylor Swift). This hyped, breathiness to give it some kind of intimacy completely rubs me the wrong way. It's a bit like approximating a live stage performance. It makes me wonder how the song may have sounded if they had used a more straight forward, Whitney Houston kind of vocal chain. I don't mean this as a criticism of this mic, only the finished vocal sound. The tracks I've received that have been recorded with the REDD and only the REDD, sound absolutely fantastic!!
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Post by timcampbell on Nov 26, 2019 12:16:41 GMT -6
As I said I don't take it as a reflection of the mic as much as I do their processing. That said, I'm not a big fan of the Sony C-800G mic in general but that puts me in the minority there too when I see how widespread it's used.
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Post by aremos on Nov 26, 2019 14:15:41 GMT -6
As I said I don't take it as a reflection of the mic as much as I do their processing. That said, I'm not a big fan of the Sony C-800G mic in general but that puts me in the minority there too when I see how widespread it's used. The C-800G's bottom is one of the richest lows I've heard in a mic. The mids are very balanced - to the point it never brings out that "nasality" that a lot of Neumanns have. The highs are just right in bringing in a nice "air" without ever being harsh.
Like you I've always been an AKG fan & have many of their great mics. I also happen to own 2 Tim Campbell CT-12 capsules.
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Post by spock on Jul 12, 2021 13:39:04 GMT -6
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Post by Quint on Jul 12, 2021 14:23:35 GMT -6
I really enjoyed that. Great song. The REDD sounds nice. Also, RE15 for the win on acoustic guitar.
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Post by Johnkenn on Jul 12, 2021 17:01:24 GMT -6
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ericn
Temp
Balance Engineer
Posts: 14,919
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Post by ericn on Jul 12, 2021 21:08:20 GMT -6
Damn it John you know this is the mic I will never ever, ever look at another video or listen to a clip of because I’m going to want to sell the kids kidneys for it ( I have dibs on the over Ward).
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