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Post by mrholmes on May 4, 2020 10:30:47 GMT -6
LOL. Yeah... mine and mrholmes! I think wiz said he has some too. Seriously though I love it when people bash stuff I like, it makes me laugh a lot. You guys are cracking me up. GOOD!! Cos there's definitely a heavy coat of humor being applied here! LMAO P.S. Schoeps SDCs sound like old-fashioned mini cassette recorder microphones with the built in on/off switch.
If I could afford a Schoeps we would not have this thread... and nor a COVID-19 VIRUS
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Post by mrholmes on May 3, 2020 2:48:55 GMT -6
Warren Huart's Lewitt demo was impressive and then factor in the price. Very cool! Cheers Ross
Yes it was and I always ask myself why Warren can do an extremely close micing make sound sooooo good. My guesswork is the mics go into the console EQs.
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Post by mrholmes on May 2, 2020 15:49:58 GMT -6
Yupp same in this video no shrill a forward midrange and the lows are there too. Dynamics work well too.
I like the fact that they do not sound as big and modern as the 184 - some kind of understatement.
Monday I have the mic here... will tell you what it is like.
If it's the 140, any chance you can post clips ?,..... I'd be interested in hearing it around the 12th fret of an acoustic if possible, whether it's set to air, flat or both, ......and no worries if not. I'm looking forward to your thoughts on it.
Ordered the 40 buts it's the same capsule the same electronics minus the switches.
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Post by mrholmes on May 2, 2020 14:26:56 GMT -6
I have to accept the fact that my pair KM184 are gone (2 years ago).
A longer story, but never borrow gear to anyone.
I just remember that the 184 are foolproof. They sound great what ever is in front of them, good guitar, bad guitar, hard strumming finger picking. Bad sounding room, good sounding room.... they worked in 99% of the cases.
At the time I am on the Dynamic MIC - trip ...
I think it's a good reminder.
KM184 is not option due to my COVID-19 losses @ 650 Euro.
-
My retailer mentioned the WARM KM84 copy as good as the real deal.
The 3U Audio was mentioned with and without transformer coupling as good as NKMs.
You worked with one of the contenders? Let me know your opinion!
KM 184
| Neumann | 699 €
| KM84 CLONE
| WARM AUDIO
| 399 € | 3U Audio Warbler | 127-C-Flat | 280€ |
Your retailer way lying, but that's his job. What I hear is that a WA84 is nothing like a real KM84, but isn't a bad deal for what it is. Don't know how it compares to a 184, most of the people I know don't use them. Have no idea about the Warbler.
My retailer is a Friend. He is not only selling gear, he also has 30+ years experience in producing music, when spare time is there he is my mentor. I could not be happier to get free advice over the past 15 years. I do not need Name-Dropping for my EGO - just want to let you know that he still works for very famous people. Mentioned a few times that he holds the rights on a few songs which nearly everybody knows. And he is the writer of the songs.
He is a nice person. His gear advise was 89% of the time spot on. Just for the record. As millionaire, he does not need to lie about gear. He is not selling gear because of the money, because he wants to stay in the scene. Again a person which I would miss in case something happens.
I respect him for his advice and service.
I love him for his kindness.
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Post by mrholmes on May 2, 2020 11:40:32 GMT -6
Don't know if the you saw this demo of the Lewitt 140 at He used X/Y position for piano,... and just used 1 of the xy in mono on the acoustic pointed to the back where I would have preferred hearing 1 mono off the 12-14th fret but it still was more info to hear on them. It appeared to me the first half of his piano take is with the air setting on and the 2nd half of it with the air button on the mic off.
Yupp same in this video no shrill a forward midrange and the lows are there too. Dynamics work well too.
I like the fact that they do not sound as big and modern as the 184 - some kind of understatement.
Monday I have the mic here... will tell you what it is like.
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Post by mrholmes on May 1, 2020 19:34:16 GMT -6
Same. I went halfsies on a Nord keyboard with a friend and it got stolen from his property under his watch. Never again. And then there's the whole thing about people being "weird" when you want your shit back. Come on, I own it, remember? Reminds me on an ex band mate who never gave me back some nice VOX guitar Amp and faded away in the big city. Sometimes you meet people accidentally...
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Post by mrholmes on May 1, 2020 18:04:25 GMT -6
I own a pair of KM184s, and a KM84. I don't know what your budget is... but I have been using a RODE NTR on my acoustic for all the songs on my next album. Originally I used it for its fig 8 pattern, as I am recording voice and acoustic at same time. As it is active it doesn't require as much gain as a normal ribbon, has a 10 year guarantee and sounds killer It has worked out really great... so there is something from left field. Cheers Wiz
THX Wiz
No harm I made my RODE experience and sold them after 12 months.
For the record I listen to the Lewitt 040 and 140 recordings and was floored by cost performance and hit buy just for fun.
They don't sound hyped in the top end. Solid low end. And they work the dynamics well. Seems they erase room tone pretty well.
In other words they have none of my critics by all other contenders. Hard not to try at a selling point of 99 Euro for a single mic.
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Post by mrholmes on May 1, 2020 16:53:27 GMT -6
This may seem like a suggestion from another end completely, but my friend has had great results with his Lewitt 640 mic. He's on his second album with it now. You may want to research the lower priced Lewitt's, they're kind of like AKG's but warmer and fuller. There's also this. I'm sure it's mostly a Chinese rebadge with a little tweaking, but a friend recorded the NY Philharmonic with Schoeps SDC's and at the same time for fun, recorded with the cheap Gauge-USA mics. The conductor and producer chose the Guage for their record! www.gauge-usa.com/collections/microphones/products/ecm-84-condenser-microphone
JUPP some AE high praised the Lewitts SDC for abut 140 bucks... In my thinking it's all CHINA.... but this Video sounds great....
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Post by mrholmes on May 1, 2020 16:46:41 GMT -6
I had the WA84 here, didn't like them. I found them a little too muddy sounding. KM184 is "bright and tight" but I love that sound, so I know where you're coming from. Right now I'm looking for Beyer MC930. There are some deals out there, lots of positive feedback. Oktava MK 012 with mods are great. I like them on acoustics. I don't like them over a drum set. They have this sort of 2K upper mid presence to them that is nice on stringy things. And the "warm" sound from the low end or whatever. Top is not super clear, that's why I don't like them over cymbals/drums. Yes, mods help but only as much as they can IMO. If you get them, do have the mods done, easy call. I also really like the KSM141 and KSM137. They are so neutral and clear enough that they work almost anywhere. The KM184, to me, was the "next level" out of the mid grade stuff. I want to see if the MC930 can get me there. Before I just start shopping for KM184 or KM84 again. That's the thing you have to surpass. To me the Warm mic was mid grade at best. Shure/Oktava all day for standard fare, and realistic prices. I have a pair of each.
Totally forgot about the MC 930 some here in Germany love them over the KM 184
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Post by mrholmes on May 1, 2020 16:13:28 GMT -6
The MODDED Oktava 012's are the closest thing to KM84's that I have heard. I proved it with that clip that intercut back and forth between KM84 and Joly modded 012 13X's that no one could hear the cuts on. They are better than 184's for me. That said, overall, in a wide variety of circumstances, the 84's are still preferred here. But the Joly 012's are EXTREMELY close. And the top end is not smeary after the mod. But the LF is bigger on the 012's than my 84's - for better or worse. The 84's can pull further off a source, and can take bad rooms better.
Good news seems they produce the newer ones already like the suggested modification. Now it's the Oktava or the Warbler... LOL
I live in the EX GDR area it should be something PUTIN...😂
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Post by mrholmes on May 1, 2020 9:11:14 GMT -6
Interesting advise.... Heard Oktava Samples on dreadnought and thought that the HF range smears is less detailed compared to KM184. With the 184 I can hear a string separation which I can't hear with the MKs
In my experience a modified Oktava makes the top end clear up considerably, with perhaps some detriment to the bass, but then they are very bassy mics to begin with. I thought a modified example matched the top of my KM140 pretty well, unmodified examples did not.
ok and which mod is this?
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Post by mrholmes on May 1, 2020 8:39:28 GMT -6
Been turned on to the warbler 127 c-flat by ragan. He posted some km84 vs 127 sounsamples here and that made me buy the 127‘s. I don‘t regret it. went for the cardoid c-flat and use them mainly for acoustic guitar recording. They do delivery nice smooth sounds no mather what guitar and what player. I‘ve got no expierence with km184 except beeing miked with them when i played a live radio show some 10 years ago, so i can‘t compare them to the warbler 127.
ragan would love to hear those samples.
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Post by mrholmes on May 1, 2020 8:04:23 GMT -6
***sorry to recommend other microphones I don't have experience with those models but lots of experience with KM184s and KM84s Have you consider the Oktava MK-012-01? I find them incredible useful. I have 5 of them (and 3 KM84s). They have a similar vibe to KM84s. Another one of my favorite affordable SDCs are AKG C460B-ULS with the CK61. They are fairly neutral sounding and are around $250 second hand. Both those microphones also have swappable capsules. AKG makes some really great omni capsules. And with an adapter you can use the old CK1 capsule as well if you want a brighter sound from the 460
Interesting advise.... Heard Oktava Samples on dreadnought and thought that the HF range smears is less detailed compared to KM184. With the 184 I can hear a string separation which I can't hear with the MKs
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Post by mrholmes on May 1, 2020 8:00:29 GMT -6
Just get the Soyuz 0-13 FET and you're golden. It's worth every penny and is the only SDC I've heard that competes favorably with the KM-84.
Sure I understand but I have 50% lesser income due COVIT19. It's not an option...
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Post by mrholmes on May 1, 2020 5:55:54 GMT -6
I have to accept the fact that my pair KM184 are gone (2 years ago).
A longer story, but never borrow gear to anyone.
I just remember that the 184 are foolproof. They sound great what ever is in front of them, good guitar, bad guitar, hard strumming finger picking. Bad sounding room, good sounding room.... they worked in 99% of the cases.
At the time I am on the Dynamic MIC - trip ...
I think it's a good reminder.
KM184 is not option due to my COVID-19 losses @ 650 Euro.
-
My retailer mentioned the WARM KM84 copy as good as the real deal.
The 3U Audio was mentioned with and without transformer coupling as good as NKMs.
You worked with one of the contenders? Let me know your opinion!
KM 184
| Neumann | 699 €
| KM84 CLONE
| WARM AUDIO
| 399 € | 3U Audio Warbler | 127-C-Flat | 280€ |
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Post by mrholmes on Apr 29, 2020 18:29:00 GMT -6
Hey guys and gals, do yourself a favor and demo the Unisum Mastering Compressor. Might be my favorite ITB compressor yet. No affiliation, just seriously impressed! Enjoy!
Fuck me ... and I just heard a few bars AB....a must have...WOW
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Post by mrholmes on Apr 29, 2020 10:49:27 GMT -6
For me during a session it's knowing the places that need more takes vs the ones that don't. Then taking into account the amount of time I have with the artist and their overall energy level during the session. Plus trying to control as many outside factors as possible. Piano in tune, room temp/humidity is stable, Food is ordered and waiting when needed, snacks, no interruptions, relaxed atmosphere, confidence, focus. Somewhere in all of that you just...know. When it's as good as it'll get. Often have to butt heads here and there with the artist that things they can do better, or wants too, and have to be realistic with all the above factors. Also letting them listen to a take or two helps a lot. I can save a lot of time if they can hear what you hear and talk about what you're going for vs their vision.
Doing it alone may lacks the VISION of second person.
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Post by mrholmes on Apr 29, 2020 10:46:47 GMT -6
I don't think I ever get there. I have spent about 12 hours trying to completely re-learn how to play a song I've known forever completely wrong so that I can copy an artist's style and deliver it without squeaks and flubs and poor timing. And it is BRUTAL. And there's no credit for "ghosting". (I do this a lot, anyone else? It pays well, but it's a thankless task) Limitations are meant to be overcome. Yeah, I only kind of believe that too. I doubt BB King spent much time trying to play SRV. I doubt Keith Richards could play Clapton licks. I get what you’re saying, but I also get mrholmes point too. I obsess too much over parts and it paralyzes me. I need to get better at printing and moving on so the creative process isn’t killed. But I also thinks this brings up other issues for modern production. Sometimes I feel like I have to do every freaking thing...from making the coffee to playing every instrument to producing to mixing to mastering to marketing to art to SEO to well, you get the picture. It’s overwhelming. I’ve told this story before, but I remember watching this posthumous David Bowie documentary and it was Carlos Alomar, Robert Fripp, Niles Rogers etc sharing how Bowie would bring in little sketches of his famous songs and then they all said “he would talk about this this and this and I picked up the guitar and played [enter famous lick here].” And it just really hit me - No one (ok maybe Prince) does this all by themselves...surround yourself with talented people and let them help you. I’d love to do that - but I’m not 20 and hanging at bars trading joints for bass parts lol...I also lack an unlimited budget to hire guys...so for me - I start trying to do it all myself. Then things start to sound the same. Then I hate myself and think I suck and get paralyzed...it’s a conundrum.
I may have one of those days plus my COVID-19 blues.
Sometimes its just simple things... like. I hate this acoustic take.... you ask someone else, and he says... hey it's just fine.
Doing everything alone I often go into hyper focus which sounds cool but is a bad thing....
I may need a break after working for days on the same song....
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Post by mrholmes on Apr 29, 2020 7:11:59 GMT -6
I don't think I ever get there. I have spent about 12 hours trying to completely re-learn how to play a song I've known forever completely wrong so that I can copy an artist's style and deliver it without squeaks and flubs and poor timing. And it is BRUTAL. And there's no credit for "ghosting". (I do this a lot, anyone else? It pays well, but it's a thankless task) Limitations are meant to be overcome. Yeah, I only kind of believe that too.
Reminds me on reading "the war of art".
I don't meant that I don't practice, I do practice a lot.
I meant something is already good, lets say move on @ 80-90% ....
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Post by mrholmes on Apr 29, 2020 5:09:59 GMT -6
When you do recording for a living, how often you have to say:
We can't get better than this, lets move on.
The background to this question is, I sometimes struggle to make a decision, but decisions make a production come forward.
Do you know the limitations of the rooms, of the players and their instruments of the gear?
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Post by mrholmes on Apr 28, 2020 20:08:39 GMT -6
What’s on your Stereo Mix Buss? Plugins or Analog. I’m more of an analog guy though. I wanted to try something new. Shootout some CAPI/Maag/Dangerous BAX/SSL Fusion? what else should I check out? Looking more at EQ options though. Was hybrid mixbus a long time since I own the SPL Irion Plug In MB is 100% ITB it sounds great....
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Post by mrholmes on Apr 28, 2020 14:07:27 GMT -6
IMHO M88TG & M201 TG (+ booster), is a great "starter set" for the typical singer/songwriting/acoustic playn' home recorder... Using a basic Focusrite/Presonus/Audient USB sort of thang. Chris
First time hear about this one seems to be loved by many AE live and studio.....
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Post by mrholmes on Apr 27, 2020 15:13:19 GMT -6
I can't help myself since two years I love the combination of my 1073 and different dynamics. It started with a gift from my retailer an OEM Shure clone - telling me it would sound killer on strummed acoustics. He was right I often use this mic instead of the usual suspects.
Later I asked here on RGO about the SM7B and the advice was right I LOVE it.
I think I like the fact that all of them show clear differences at the 1073. Dark ones / bright ones / close to LDC ones / washed out sounding ones / mellow transient ones .....
To my ear I hear broader differences in dynamic mics compared to LDC or SDC.... To me they feel like a broader rougher stroke in the picture....
I like it a lot.
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EZ Bass
Apr 27, 2020 8:05:11 GMT -6
Post by mrholmes on Apr 27, 2020 8:05:11 GMT -6
Thanks Wiz, I reckon a lot of people struggling with bass are going to be all over it Cheers, Ross
Its interesting as a guitar player I can play some base but when it comes to some special techniques I am not the right man this thing could help to get inspiration for special base player techniques...
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Post by mrholmes on Apr 24, 2020 7:52:24 GMT -6
TODAY I AM THANKFUL FOR THAT THE GERMAN GOVERNMENT HELPS ME TO SAVE MY BUSINESS.... That’s fantastic!
This decision to go into deep state dept is a God send otherwise the country would run bankrupt.
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