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Post by spock on Aug 23, 2017 16:48:34 GMT -6
Got this pic today, Neumann M50s and REDD Microphones in full bloom at Abbey Road Studios; #gearporn.  |
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Post by jazznoise on Aug 23, 2017 17:09:16 GMT -6
Couple of ambisonics mics in the back there too! Very cool
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Post by spock on Aug 23, 2017 17:34:34 GMT -6
Couple of ambisonics mics in the back there too! Very cool Yeah, good eye! |
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Post by Johnkenn on Aug 23, 2017 18:57:14 GMT -6
I think that was my salary last year.
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Post by ragan on Aug 23, 2017 20:23:08 GMT -6
I think that was my salary last year. Not a bad year! |
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Post by Johnkenn on Aug 23, 2017 20:34:53 GMT -6
Oh - I didn't see the mics...I was talking about the stands.
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Post by ragan on Aug 23, 2017 21:27:21 GMT -6
Oh - I didn't see the mics...I was talking about the stands. And I didn't read the txt in the first post. Thought the frontmost 3 mics were U47 longbodies.  |
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Post by spock on Aug 23, 2017 22:37:39 GMT -6
Oh - I didn't see the mics...I was talking about the stands. And I didn't read the txt in the first post. Thought the frontmost 3 mics were U47 longbodies. Haha, a little longer though. |
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Post by lcr on Aug 24, 2017 8:21:36 GMT -6
It costs 10 times more to sound 10% better?
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Post by jazznoise on Aug 24, 2017 8:28:33 GMT -6
In a room that expensive, it'd be an injustice to not use the best equipment available.
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Post by EmRR on Aug 24, 2017 8:37:24 GMT -6
It costs 10 times more to sound 10% better? It always has. |
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Post by lcr on Aug 24, 2017 11:08:10 GMT -6
It costs 10 times more to sound 10% better? It always has. But will it continue? |
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Post by EmRR on Aug 24, 2017 12:23:58 GMT -6
Usually does, in any field.
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Post by Johnkenn on Aug 24, 2017 16:49:17 GMT -6
I'll put it out here without hype - because I don't know for sure if DSPdoctor even carries chandler - but that redd mic is the bomb. If I hadn't invested in the Upton, I'd have that thing right now. And it might actually be my next purchase anyway. Fantastic mic.
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Post by Johnkenn on Aug 24, 2017 16:52:09 GMT -6
Ok. Apparently we (my peeps) carry Chandler. I'll beat ANY deal anyone else offers you on that mic. Because I'm craaaaaaxy!
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Post by Vincent R. on Aug 24, 2017 20:50:49 GMT -6
Staring at my BLUE B4s and I am very happy I'll be able to use an actual Decca tree for my upcoming album, but this photo is like out of one of my dreams.
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Post by ChaseUTB on Aug 25, 2017 1:56:26 GMT -6
spockHow well were the mics in phase with each other from that photo setup?
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Post by spock on Aug 25, 2017 7:36:33 GMT -6
spockHow well were the mics in phase with each other from that photo setup? I wasn't at the session, though I'm sure the Abbey Road engineers had it sorted. |
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Post by ChaseUTB on Aug 25, 2017 15:55:16 GMT -6
spockHow well were the mics in phase with each other from that photo setup? I wasn't at the session, though I'm sure the Abbey Road engineers had it sorted. I'm not doubting the AR engineers more so asking what their method of operation was with all mics, I was trying to learn something new. |
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Post by ericn on Aug 25, 2017 21:30:00 GMT -6
I'll take just about any of them M50, Redd even ambisonic.
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Post by Ward on Aug 26, 2017 7:54:00 GMT -6
It costs 10 times more to sound 10% better? And that's a bargain. Its often a slope of diminishing returns. Exponential rise in cost for incremental rise in quality. |
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Post by spock on Aug 26, 2017 14:06:03 GMT -6
I wasn't at the session, though I'm sure the Abbey Road engineers had it sorted. I'm not doubting the AR engineers more so asking what their method of operation was with all mics, I was trying to learn something new. Hi Chase, sorry, not to assume anything here...I can tell you from my experience in multi-mic situations. If you have a phase meter or scope, once we have placement of the first mic, pan it hard right, bring up the next mic, pan hard left, check phase. If the second mic is out, try moving it - while retaining the sound, if you'd placed it there for a specific quality -, if this fails, try flipping polarity. Once the second mic is in phase with the first, pan it hard right, joining mic one, and add the next mic, panned hard left, and do the same thing until each mic added is in phase with the others. Of course, if you don't have a meter or scope, even if you do, you can hear the phase relationship too. However, I've found, validation using both ways is best. |
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Post by Ward on Aug 26, 2017 14:07:24 GMT -6
I'm not doubting the AR engineers more so asking what their method of operation was with all mics, I was trying to learn something new. Hi Chase, sorry, not to assume anything here...I can tell you from my experience in multi-mic situations. If you have a phase meter or scope, once we have placement of the first mic, pan it hard right, bring up the next mic, pan hard left, check phase. If the second mic is out, try moving it - while retaining the sound, if you'd placed it there for a specific quality -, if this fails, try flipping polarity. Once the second mic is in phase with the first, pan it hard right, joining mic one, and add the next mic, panned hard left, and do the same thing until each mic added is in phase with the others. Of course, if you don't have a meter or scope, even if you do, you can hear the phase relationship too. However, I've found, validation using both ways is best. Some people find a phase meter helps. |
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Post by jazznoise on Aug 26, 2017 17:55:56 GMT -6
I thought it was clearly just a photo. Studios do this all the time, stick all the mics in frame for an end of session shot.
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Post by longscale on Aug 26, 2017 21:44:49 GMT -6
That photo made me drool. Both for the mics and for the room. Man. You guys are not helping my monthly budget. I'd love to hear that REDD some day. Thanks for sharing that photo.
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