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Post by Johnkenn on May 29, 2019 7:44:03 GMT -6
I feel compelled to say, I’ve had some issues with sibilance on two female vocals. One that I didn’t really notice that much while tracking, but has been a BEAR to deal with after the fact. Strangely, it doesn’t happen on my voice. Guess I have a lower sibilance area.
It’s my fault for doing something important with an entire new chain - and I tracked with compression which exacerbated the sibilance. This was on Type A setting 4, so it’s adding in some top. I’m experimenting with dialing out some 10khz with eq while tracking on setting 4. I tracked another girl on setting 1 (more bass heavy) and it worked pretty well, though not as much air as I would want...but it ended up sounding really good.
I think “full range” is a very accurate description of the mic. It might have a little learning curve because it seems to have more top information than other mics I’ve used.
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Post by sirthought on May 29, 2019 8:43:49 GMT -6
John, how far do you notch the 10kHz down?
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Post by Johnkenn on May 29, 2019 10:10:42 GMT -6
Just twisting the knob on a 1073, so other than “slightly” I’m not sure how to answer that.
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Post by shoe on May 29, 2019 23:57:14 GMT -6
I was trying out a ton of different mics on Saxophone (Tenor and Alto) today and had some interesting results.
We tried all the mics straight in to my dad's Zoom that he uses for live and location recording (we were trying to figure out both what works best for him live and in a studio setting). The TG fared pretty well in most of the tests but it did get a bit bright on some of his most aggressive playing if plugged directly into his Zoom (he can get into like John Zorn and other very avant garde noisy territory). It had a harder time handling his Alto playing, but the source itself is pretty in your face in that case.
However, once we plugged it into my REDD.47, the TG was absolutely beautiful on his Tenor playing. I also tried some RS124, which I liked, bit I probably should have toned down the preamp output because his extremely dynamic playing really did cause it to dig in very hard. I think it'd be worth exploring that a bit further.
Fun times were also had with the REDD.47 gain cranked up all the way, driven by the TG and no RS124.
It really seems like that mic+preamp combination works extremely well together.
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jono3
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Post by jono3 on Jun 3, 2019 16:55:50 GMT -6
Long-time GS user and recent RGO lurker, I found this thread while looking for info and clips of the TG mic. I ended up buying one and have used it to re-track some vocals on a couple of soon-to-be-released tracks. Thanks to everyone that contributed to this thread; you helped inform my purchase. My first impressions about the physical mic and packaging: - I wish the system came with a proper case (any recommendations?) - I hate the shock mount - The power supply doesn't bother me at all, although something with an IEC would have been nice - I like the wooden mic box. It's high-quality, but the mic still has a centimetre or so to rattle around and it really should fit tighter so that it doesn't get damaged in transport - The positioning of the switches is logical and encourages experimentation. It's nice and easy to swap through settings to find something that works while singing. I imagine it will be just as easy to instruct someone to do it when I am not the singer - I really hate the shock mount - I thought I would not like the red light, but it's actually useful. Wish it was white or blue though (can it be switched out?) - I don't like the essential oil/perfume smell in the mic case - I like the way mic looks First impressions on sound: - The mic is incredibly easy to sing into (i.e. I can hear myself, sounds balanced, etc.) - Full-frequency is an accurate way to describe the sound - System A, 50hz, flat was the best setting for my voice - I re-tracked vocals that were done with a U47 fet-->REDD47 and a U87 ai/Thermionic Early Bird, in both cases it made the existing vocals sound very lofi and mid-range heavy - It was initially tough to get the vocal to sit in the mix because it was made around the sound of the old vocal and needed some fairly sizable cuts in the 600hz and 3-4k area. - The TG vocal needed significantly less compression and tonal sculpting to sound finished. Tracking with an Anamod 660, and with little bit of de-essing and UAD LA2a it was good to go - Required significantly less de-essing than the U87ai or U47 fet - I really liked being able to switch Systems and EQ settings on the mic to get the vocal harmonies to blend while tracking without having to swap things around - The mic takes EQ, saturation, and compression very well - It has great "reach" and a wide-sweet spot. It responded really well to varying distances throughout the song. - Did not feel like any EQ boosts were needed, only cuts to slot the track in the mix
- The mic has a really specific top-end, in all settings - The TG vocal tracks are the ones that will be used on the records Overall first impressions: - Sounds fundamentally different, in both systems, than the usual batch of vocal mics I use (U87, C12, U47 fet, SM7, RE-20, 414, TLM 49) - The tone of the mic required me to re-balance and re-mix the previously finished track I added vocals to. This could be an advantage or disadvantage; in this case, the mix improved significantly with the new TG vocal track. - Disappointed with the lack of case and the sub-par shock mount - Looking forward to using it on some other instruments - Using the mic on something at the beginning of a session (versus just at the end of the process) will likely dictate what the other sounds on the record will need to be in comparison. - I like it, but, to me anyway, the Tg mic is a new sound that takes a bit of getting used to. It's like a listening learning curve because it has a really unique (read: new) harmonic and transient response |
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Post by lpedrum on Jun 3, 2019 21:47:03 GMT -6
Long-time GS user and recent RGO lurker, I found this thread while looking for info and clips of the TG mic. I ended up buying one and have used it to re-track some vocals on a couple of soon-to-be-released tracks. Thanks to everyone that contributed to this thread; you helped inform my purchase. My first impressions about the physical mic and packaging: - I wish the system came with a proper case (any recommendations?) - I hate the shock mount - The power supply doesn't bother me at all, although something with an IEC would have been nice - I like the wooden mic box. It's high-quality, but the mic still has a centimetre or so to rattle around and it really should fit tighter so that it doesn't get damaged in transport - The positioning of the switches is logical and encourages experimentation. It's nice and easy to swap through settings to find something that works while singing. I imagine it will be just as easy to instruct someone to do it when I am not the singer - I really hate the shock mount - I thought I would not like the red light, but it's actually useful. Wish it was white or blue though (can it be switched out?) - I don't like the essential oil/perfume smell in the mic case - I like the way mic looks First impressions on sound: - The mic is incredibly easy to sing into (i.e. I can hear myself, sounds balanced, etc.) - Full-frequency is an accurate way to describe the sound - System A, 50hz, flat was the best setting for my voice - I re-tracked vocals that were done with a U47 fet-->REDD47 and a U87 ai/Thermionic Early Bird, in both cases it made the existing vocals sound very lofi and mid-range heavy - It was initially tough to get the vocal to sit in the mix because it was made around the sound of the old vocal and needed some fairly sizable cuts in the 600hz and 3-4k area. - The TG vocal needed significantly less compression and tonal sculpting to sound finished. Tracking with an Anamod 660, and with little bit of de-essing and UAD LA2a it was good to go - Required significantly less de-essing than the U87ai or U47 fet - I really liked being able to switch Systems and EQ settings on the mic to get the vocal harmonies to blend while tracking without having to swap things around - The mic takes EQ, saturation, and compression very well - It has great "reach" and a wide-sweet spot. It responded really well to varying distances throughout the song. - Did not feel like any EQ boosts were needed, only cuts to slot the track in the mix
- The mic has a really specific top-end, in all settings - The TG vocal tracks are the ones that will be used on the records Overall first impressions: - Sounds fundamentally different, in both systems, than the usual batch of vocal mics I use (U87, C12, U47 fet, SM7, RE-20, 414, TLM 49) - The tone of the mic required me to re-balance and re-mix the previously finished track I added vocals to. This could be an advantage or disadvantage; in this case, the mix improved significantly with the new TG vocal track. - Disappointed with the lack of case and the sub-par shock mount - Looking forward to using it on some other instruments - Using the mic on something at the beginning of a session (versus just at the end of the process) will likely dictate what the other sounds on the record will need to be in comparison. - I like it, but, to me anyway, the Tg mic is a new sound that takes a bit of getting used to. It's like a listening learning curve because it has a really unique (read: new) harmonic and transient response Great review, especially your last point! I'm still keeping an eye on this mic and this thread. I could care less about a case or the mount, both of which can be remedied. What still concerns me is the observation made by many that the mic has, as you put it, "a really specific top end," and that it needed sizable cuts in the 3 to 4k range. It puzzles me why a mic marketed as extremely versatile doesn't come with a setting with a flat top end. Perhaps Chandler will update the electronics at some point with that kind of option. But it could be more to your point that the mic has a unique learning curve, and it's magic takes some getting used to. |
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Post by Johnkenn on Jun 3, 2019 22:05:31 GMT -6
Long-time GS user and recent RGO lurker, I found this thread while looking for info and clips of the TG mic. I ended up buying one and have used it to re-track some vocals on a couple of soon-to-be-released tracks. Thanks to everyone that contributed to this thread; you helped inform my purchase. My first impressions about the physical mic and packaging: - I wish the system came with a proper case (any recommendations?) - I hate the shock mount - The power supply doesn't bother me at all, although something with an IEC would have been nice - I like the wooden mic box. It's high-quality, but the mic still has a centimetre or so to rattle around and it really should fit tighter so that it doesn't get damaged in transport - The positioning of the switches is logical and encourages experimentation. It's nice and easy to swap through settings to find something that works while singing. I imagine it will be just as easy to instruct someone to do it when I am not the singer - I really hate the shock mount - I thought I would not like the red light, but it's actually useful. Wish it was white or blue though (can it be switched out?) - I don't like the essential oil/perfume smell in the mic case - I like the way mic looks First impressions on sound: - The mic is incredibly easy to sing into (i.e. I can hear myself, sounds balanced, etc.) - Full-frequency is an accurate way to describe the sound - System A, 50hz, flat was the best setting for my voice - I re-tracked vocals that were done with a U47 fet-->REDD47 and a U87 ai/Thermionic Early Bird, in both cases it made the existing vocals sound very lofi and mid-range heavy - It was initially tough to get the vocal to sit in the mix because it was made around the sound of the old vocal and needed some fairly sizable cuts in the 600hz and 3-4k area. - The TG vocal needed significantly less compression and tonal sculpting to sound finished. Tracking with an Anamod 660, and with little bit of de-essing and UAD LA2a it was good to go - Required significantly less de-essing than the U87ai or U47 fet - I really liked being able to switch Systems and EQ settings on the mic to get the vocal harmonies to blend while tracking without having to swap things around - The mic takes EQ, saturation, and compression very well - It has great "reach" and a wide-sweet spot. It responded really well to varying distances throughout the song. - Did not feel like any EQ boosts were needed, only cuts to slot the track in the mix
- The mic has a really specific top-end, in all settings - The TG vocal tracks are the ones that will be used on the records Overall first impressions: - Sounds fundamentally different, in both systems, than the usual batch of vocal mics I use (U87, C12, U47 fet, SM7, RE-20, 414, TLM 49) - The tone of the mic required me to re-balance and re-mix the previously finished track I added vocals to. This could be an advantage or disadvantage; in this case, the mix improved significantly with the new TG vocal track. - Disappointed with the lack of case and the sub-par shock mount - Looking forward to using it on some other instruments - Using the mic on something at the beginning of a session (versus just at the end of the process) will likely dictate what the other sounds on the record will need to be in comparison. - I like it, but, to me anyway, the Tg mic is a new sound that takes a bit of getting used to. It's like a listening learning curve because it has a really unique (read: new) harmonic and transient response Great review, especially your last point! I'm still keeping an eye on this mic and this thread. I could care less about a case or the mount, both of which can be remedied. What still concerns me is the observation made by many that the mic has, as you put it, "a really specific top end," and that it needed sizable cuts in the 3 to 4k range. It puzzles me why a mic marketed as extremely versatile doesn't come with a setting with a flat top end. Perhaps Chandler will update the electronics at some point with that kind of option. But it could be more to your point that the mic has a unique learning curve, and it's magic takes some getting used to. I haven’t noticed 3-4khz being an issue. And that’s often an issue in my case. Sure, i have multibanded it with this mic, but it’s not an issue in my opinion. Unfortunately, the 8-10khz area has been an issue on the chicks I’ve recorded. I’m actually re-tracking some vocals tomorrow on a girl because certain songs were a total loss. Can’t believe i didn’t hear it the day of. I’m going to try again tomorrow and really pay attention...to try and determine whether it was user error and can be remedied. I used setting 1 (the bass emphasis) on one chick, but I still had more sibilance than I’ve dealt with with other mics...and it just wasn’t the right fit. I realize there’s not a one mic that will be magical on every voice, but there are mics that will and should be workable on every one. Now - I’m speaking specifically about vocals...I’m also going to just roll off a little 10khz at the pre too to see how that works. |
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Post by sirthought on Jun 3, 2019 22:10:00 GMT -6
Nice review jono3 BTW I got a Pelican-style case from Sam's Club for $35. It was more than large enough to hold everything, and it has both front and side locking latches. Sturdy and looks good. I've also found similar cases on an online electrical supply website. Can't recall the name right now. They sold every size imaginable and seemed to have marketing copy aimed at people who might use them for mics or audio gear. Very similar sizes to the SKB stuff at much lower pricing. If I was going on a worldwide tour I might get second opinions on how comparatively tough these are, but for keeping them safe at my practice studio or going to a session, I feel great about them. I agree, though...if companies like MXL can include a case for a mic costing much less than the TG mic, Chandler really cheaped out on this detail. I think the shock mount is about the same as what's included with a ton of others out there, so I'm not too surprised on that one. It's been working for me just fine. |
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Post by ragan on Jun 3, 2019 22:29:44 GMT -6
One of my shockmount latches routinely popped open. I'd have never found it acceptable if I'd kept the mic. Certainly wouldn't have hung it upside down anywhere. I think they should do something about that mount.
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jono3
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Post by jono3 on Jun 4, 2019 12:01:11 GMT -6
I think once the mic is in the mount it works fine, I just found that it was kind of a pain getting it in and out.
@johnkenn I've been putting a Derresser in line, set really lightly that seems to make things a little easy to manage on the way in. Also, de-essing with the Sonnox de-esser using the Michael Brauer trick worked really well with the TG.
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Post by Johnkenn on Jun 4, 2019 13:15:39 GMT -6
I think once the mic is in the mount it works fine, I just found that it was kind of a pain getting it in and out. @johnkenn I've been putting a Derresser in line, set really lightly that seems to make things a little easy to manage on the way in. Also, de-essing with the Sonnox de-esser using the Michael Brauer trick worked really well with the TG. What’s the Brauer trick? |
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Post by Johnkenn on Jun 4, 2019 13:18:28 GMT -6
drsax told me how he uses Cambridge on the way in with a soft slope. Just from listening on HPs this seems to help. I’m also going to experiment with Type B. I kindve always thought A sounded better, but there’s definitely less saturation/distortion with B. I’m just kinda mad at myself for not hearing what I was doing tracking vocals an entire day. Probably going to have to re-track which is a to. More work for me.
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Post by chessparov on Jun 4, 2019 13:35:18 GMT -6
How about tracking farther away, from the microphone? My U195 (set flat) is best one foot (or more) away.
Chris
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Post by sirthought on Jun 4, 2019 13:42:39 GMT -6
Yeah I would have the singer step back before adding more processing on the way in.
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jono3
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Post by jono3 on Jun 4, 2019 15:45:56 GMT -6
I think once the mic is in the mount it works fine, I just found that it was kind of a pain getting it in and out. @johnkenn I've been putting a Derresser in line, set really lightly that seems to make things a little easy to manage on the way in. Also, de-essing with the Sonnox de-esser using the Michael Brauer trick worked really well with the TG. What’s the Brauer trick? |
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Post by Johnkenn on Jun 4, 2019 17:11:29 GMT -6
Hey - so is he just using the wet/dry on the plug and then automating for where he wants it on/off or is he doing a Brauer thing and setting up a separate bus and automating/blending that in? |
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ericn
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Post by ericn on Jun 5, 2019 8:53:36 GMT -6
Long-time GS user and recent RGO lurker, I found this thread while looking for info and clips of the TG mic. I ended up buying one and have used it to re-track some vocals on a couple of soon-to-be-released tracks. Thanks to everyone that contributed to this thread; you helped inform my purchase. My first impressions about the physical mic and packaging: - I wish the system came with a proper case (any recommendations?) - I hate the shock mount - The power supply doesn't bother me at all, although something with an IEC would have been nice - I like the wooden mic box. It's high-quality, but the mic still has a centimetre or so to rattle around and it really should fit tighter so that it doesn't get damaged in transport - The positioning of the switches is logical and encourages experimentation. It's nice and easy to swap through settings to find something that works while singing. I imagine it will be just as easy to instruct someone to do it when I am not the singer - I really hate the shock mount - I thought I would not like the red light, but it's actually useful. Wish it was white or blue though (can it be switched out?) - I don't like the essential oil/perfume smell in the mic case - I like the way mic looks First impressions on sound: - The mic is incredibly easy to sing into (i.e. I can hear myself, sounds balanced, etc.) - Full-frequency is an accurate way to describe the sound - System A, 50hz, flat was the best setting for my voice - I re-tracked vocals that were done with a U47 fet-->REDD47 and a U87 ai/Thermionic Early Bird, in both cases it made the existing vocals sound very lofi and mid-range heavy - It was initially tough to get the vocal to sit in the mix because it was made around the sound of the old vocal and needed some fairly sizable cuts in the 600hz and 3-4k area. - The TG vocal needed significantly less compression and tonal sculpting to sound finished. Tracking with an Anamod 660, and with little bit of de-essing and UAD LA2a it was good to go - Required significantly less de-essing than the U87ai or U47 fet - I really liked being able to switch Systems and EQ settings on the mic to get the vocal harmonies to blend while tracking without having to swap things around - The mic takes EQ, saturation, and compression very well - It has great "reach" and a wide-sweet spot. It responded really well to varying distances throughout the song. - Did not feel like any EQ boosts were needed, only cuts to slot the track in the mix
- The mic has a really specific top-end, in all settings - The TG vocal tracks are the ones that will be used on the records Overall first impressions: - Sounds fundamentally different, in both systems, than the usual batch of vocal mics I use (U87, C12, U47 fet, SM7, RE-20, 414, TLM 49) - The tone of the mic required me to re-balance and re-mix the previously finished track I added vocals to. This could be an advantage or disadvantage; in this case, the mix improved significantly with the new TG vocal track. - Disappointed with the lack of case and the sub-par shock mount - Looking forward to using it on some other instruments - Using the mic on something at the beginning of a session (versus just at the end of the process) will likely dictate what the other sounds on the record will need to be in comparison. - I like it, but, to me anyway, the Tg mic is a new sound that takes a bit of getting used to. It's like a listening learning curve because it has a really unique (read: new) harmonic and transient response Not sure if the Harbor Freight, Pelican clone would be big enough, if not take a look at Seahorse Cases. ( conflict notice Harbor Freight currently employs at least one real active at the corporate level) All my mics live in identical foot print Seahorse Case’s. I was lucky enough to find a guy on Craigslist who had 4 in mint condition at just a stupid price but I had to buy foam and have bought another 2 new. One of the best investments ever. Welcome to RGO great first post. |
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ericn
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Post by ericn on Jun 5, 2019 9:00:09 GMT -6
EMI i.e. Sony doesn't fuck around with intellectual property...ask several manufacturers on this board lol. And I can attest to Sony not screwing around...they own some of my catalog and would rather it collect dust than give it back. Yup EMI and Sony are like a pair of abused pit bulls with a bone when it comes to their intellectual property, except their teeth are very expensive lawyers. The agreement with Chandler is very specific about what Chandler can and can’t do. Wade also learned from the early days of clones when the folks at Chemeleon basically Xeroxed his PCB! |
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Post by Bat Lanyard on Jun 5, 2019 10:03:56 GMT -6
Not sure if the Harbor Freight, Pelican clone would be big enough, if not take a look at Seahorse Cases. ( conflict notice Harbor Freight currently employs at least one real active at the corporate level) All my mics live in identical foot print Seahorse Case’s. I was lucky enough to find a guy on Craigslist who had 4 in mint condition at just a stupid price but I had to buy foam and have bought another 2 new. One of the best investments ever. Welcome to RGO great first post. Great info, thanks. Do you mind sharing what model Seahorse Case you use? Looks like a great solution. |
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ericn
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Post by ericn on Jun 5, 2019 10:31:32 GMT -6
Not sure if the Harbor Freight, Pelican clone would be big enough, if not take a look at Seahorse Cases. ( conflict notice Harbor Freight currently employs at least one real active at the corporate level) All my mics live in identical foot print Seahorse Case’s. I was lucky enough to find a guy on Craigslist who had 4 in mint condition at just a stupid price but I had to buy foam and have bought another 2 new. One of the best investments ever. Welcome to RGO great first post. Great info, thanks. Do you mind sharing what model Seahorse Case you use? Looks like a great solution. A mixture of 710’s and 720’s. The foot prints are the exact same so they stack nice, neat and stable. |
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Post by Bat Lanyard on Jun 5, 2019 10:40:38 GMT -6
Great info, thanks. Do you mind sharing what model Seahorse Case you use? Looks like a great solution. A mixture of 710’s and 720’s. The foot prints are the exact same so they stack nice, neat and stable. Awesome, thanks! Found a local dealer so about to go check them out. |
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jono3
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Post by jono3 on Jun 5, 2019 10:49:48 GMT -6
Hey - so is he just using the wet/dry on the plug and then automating for where he wants it on/off or is he doing a Brauer thing and setting up a separate bus and automating/blending that in? No bussing for that one. My understanding is that it's fairly heavily de-essed and then brought to a natural sounding level with the mix control. |
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jono3
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Post by jono3 on Jun 5, 2019 11:01:29 GMT -6
Great info, thanks. Do you mind sharing what model Seahorse Case you use? Looks like a great solution. A mixture of 710’s and 720’s. The foot prints are the exact same so they stack nice, neat and stable. Do you think a 710 would fit the TG system and shock mount, or would it need to be a 720? |
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ericn
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Post by ericn on Jun 5, 2019 11:30:39 GMT -6
A mixture of 710’s and 720’s. The foot prints are the exact same so they stack nice, neat and stable. Do you think a 710 would fit the TG system and shock mount, or would it need to be a 720? 710 might fit, but 720 will fit and offer some cushion for protection! |
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jono3
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Post by jono3 on Jun 5, 2019 12:10:35 GMT -6
Awesome, thanks for the recommendation.
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