Message Board

The only "universal" mic amp I can think of is a John Hardy. "Clean" but with plenty of "thickness" to it. The Hardy M-2 is my desert-island preamp. I love Millennia, I love API 3124, True P-8's are nice, Sytek is nice, but if I were only allowed to have one pre to use on everything and anything, i...

They recorded it "live" in Colombia's 30th Street studio (which no longer exists) - that's how you get that drum sound - 100 foot ceilings and everyone bleeding into each other's mic's a bit. Also, have Joe Morello to play the drums. It helped that Fred Plaut was a Tonmeister - a highly trained musi...

i understand there is the business part of music that i must concern myself with if i want to make any living out of it. I wish it could be as simple as, "record the band's project, and they pay me when i give them the final product". Is this what you guys do? is it that simple? if not, how is it m...

The wavelength of 1K is 13.5 feet

v=f*w

1130 ftps = 1000Hz * xft

xft = 1130ftps/1000Hz

xft = 1.13

Wavelength of 1kHz = 1.13 ft.

I use two different mic's for stereo pickup all the time (especially MS) and I really don't think that matters. It's all about capturing the instrument in a stereo soundstage, not what kind of mics you use. This works for MS sometimes. I have had differing experiences - for instance once I was usin...

Simply panning them hard left and hard right does not necessarily make them a "stereo array." This is where the ambiguity kicks in. 3:1 rule and stereo mic techniques are actually diametrically opposed to each other. In the case of 3:1, you are trying to minimise the interaction between two (or more...

Looks like the article SHE referred you to actually says it flat out: The Three To One Rule works on the basis of using distance to reduce the pickup of one sound source in the microphone intended for another source. Another note (though a bit off-topic in this case): your pic's show a C414 and a C3...

in the early 90s people are allowed to be audibly flat even to the non singer/detail oriented demographic A little flatness here and there in a pop singer does not bother me so much. To me it can add bit of character to a performance (provided it is not horribly so) and leaves the human element int...

I suppose you have to consider other things in a person's signal chain as well. If your microphone choices are confined to an SM57 and/or a $75 Chinese condenser mic and you are recording through a Mackie or Behringer mixer into a prosumer interface and listening back on $100 powered monitors, you w...

Definitely get the fireport.

The ethernet connection will literally take hours.

It also depends on what type of music you are doing to some extent. I also have an Apogee AD16, but I use Mytek converters for more "critical" work (i.e. classical 2-track stuff). To me the Apogee's are a little more aggressive sounding and not quite as "clear." The converters that most blew me away...

All higher sample rates allow you to do is record higher frequencies. It doesn't give you more 'resolution' (resolution in digital audio is the bit depth), it just lets you record ultrasonic sound. Of course, these are frequencies that most people can't hear, mics can't pick up, and stereos won't r...

do the thread adapters between euro and merica come with the stand at least?

The Sabra T-Bars I own came with the necessary adapters.
These adapters also usually come with the mic's/mic clips/shockmounts.

The Sabra stereo bar is a pain in the ass because there's no way to secure the angle of the mics This is not true - at the base of each threaded rod is a threaded ring which can be used to secure the mic clip at whatever angle you wish. I have used the Sabra bar with Schoeps CMC64's for years to do...

The 3 to 1 rule does not apply to any stereo micing techniques. YES! YES! PLEASE do not associate 3:1 with anything related to stereo mic techniques. Jeremy - I love you man, but PLEASE don't mention 3:1 (or 1:3) in the context of ORTF or AB mic spacing. For stereophonic techniques it is the source...