Reluctant to drop cash on a ?Flashy? LDC

Ryan Silva · Post by **Ryan Silva** » Fri Feb 20, 2009 2:03 pm

So for some reason I have always found recording Vocals to be relatively easy (of course this is talent dependant) but I?m just never at a loss as to how to record even the most unusual of vocals. I?ll spend hours finding that perfect mic/placement for an acoustic guitar or snare drum, and even longer on things like bass cabs, but Vocals to me have always been straight forward. I have a modest mic collection: 414,GT66,RE20,EH Ribbon, these mics have always covered the spectrum for vocals, but none of them are ?Wow? mics.

I was considering maybe picking up an U87, or maybe a TLM 49 or something in that ballpark. My question is, is it necessary for all studios to have at least one showpiece mic? Will my Vocals really improve or will I just I just be able to charge more because it?s on my mic list.

By the way, most of the time I am recording Vocals through a UA m610.

Thanks

JGriffin · Post by **JGriffin** » Fri Feb 20, 2009 2:31 pm

1) Which 414?

2) If you're happy with what you're getting, why buy something pricey you're not even sure you need?

Ryan Silva · Post by **Ryan Silva** » Fri Feb 20, 2009 2:40 pm

dwlb wrote:1) Which 414?

B-uls

dwlb wrote: 2) If you're happy with what you're getting, why buy something pricey you're not even sure you need?

I have started to get requests for more notable LDCs, and I was also thinking my 414s don?t always cut it on the outside of the Kick. I have been going crazy trying to find a good mic for that application. So far my EH Ribbon is as close as I can get to what I'm looking for.

Thanks

DrummerMan · Post by **DrummerMan** » Fri Feb 20, 2009 2:41 pm

Can't you just rent a specific fancy mic if a client requests it?

losthighway · Post by **losthighway** » Fri Feb 20, 2009 3:41 pm

Man, I just realized a 414 isn't too flashy to some people. Makes my Audio Technica and Blue options for vocals feel cheap.........

What are you trying to do, get me to take out a business loan?

nick_a · Post by **nick_a** » Fri Feb 20, 2009 3:55 pm

i understand that sometimes people are looking for a studio with "name brand" stuff they read about one time in a magazine, but at the same time it's kind of up to you to say 'hey that's kinda bullshit listen to all the good sounding stuff i've done without any of that'. not to say that 'flashy' mics are a bad idea all the time, by any means. i just feel like you're the only one who can really decide when YOU and YOUR BUSINESS are ready to make an investment like that. you should have a definite use for it.

honkyjonk · Post by **honkyjonk** » Fri Feb 20, 2009 5:21 pm

Why try to get fancy?
http://www.expertvillage.com/video/4219 ... o-mics.htm

xhavepatiencex · Post by **xhavepatiencex** » Fri Feb 20, 2009 5:31 pm

honkyjonk wrote:Why try to get fancy?
http://www.expertvillage.com/video/4219 ... o-mics.htm

hahaha hell yeah. I need this guy in my studio.

T-rex · Post by **T-rex** » Fri Feb 20, 2009 6:00 pm

I have had people refernce a local studio specifically because he has a U87 and a Coles 4038. I mean the good thing about that is in a business sense, it is an investment and if you buy used you should be able to sell it for about what you paid etc.

But unless you really feel you are losing business I wouldn't worry too much about it. I would save up and when it makes sense, pull the trigger.

On a side note, the mouse is an amazing LDC that really shines outside of a kick drum. You can get them used for like $650 or so and they do damn good on vocals.

Brian · Post by **Brian** » Fri Feb 20, 2009 6:55 pm

What is it that your kick mic "isn't doing"?
I'd look for a cheaper mic than ANY you've named for kick.

Ryan Silva · Post by **Ryan Silva** » Fri Feb 20, 2009 8:59 pm

Brian wrote:What is it that your kick mic "isn't doing"?
I'd look for a cheaper mic than ANY you've named for kick.

I?ve used the standard d112, b52, 57 on inside kick quite a lot, all acceptable, but when I want to open up the kick and add deep lows I have turned to the aforementioned mics. I am pretty sure it's a combination of my inexperience, and at times poor placement. However my least expensive mic on that list (EHR1 ribbon) has given me the closest to what I?m hoping to achieve. (Same height as center kick about 3-4' away)

BTW all those mics (except the GT66) were bought used; it does feel great to know that I can turn around and sell them for close to what I paid.

Wish I could say the same for my Focusrite TwinTrack and my 2 Mackie Onyx 400fs

As far as microphone bling goes, has anyone found (for instance) the U87 to be the kingpin of there vocal approach?

trodden · Post by **trodden** » Fri Feb 20, 2009 10:03 pm

fuck.. the day i start losing schwag because i don't have the right mic, is the day i kiss the curb.

not to offend the OP, but fuck... I know what you mean about the "time" and "effort" related to the other sound making things.. I think of the same thing a lot. But you and me.. we need to figure out some other things rather than a "holy fucking fuckballs shittown mic" causae its gonna do the same thing as the other mic's we have... i dont know what you are recording.. but for vox, the time has become fun with large dynamics and a spirited performance. after that, then i just fuck it up with adding tpo much reverb delay and other shit... vox are the last thing i know what to do with.. its a shame.

Recycled_Brains · Post by **Recycled_Brains** » Fri Feb 20, 2009 11:26 pm

trodden wrote:fuck.. the day i start losing schwag because i don't have the right mic, is the day i kiss the curb.

not to offend the OP, but fuck... I know what you mean about the "time" and "effort" related to the other sound making things.. I think of the same thing a lot. But you and me.. we need to figure out some other things rather than a "holy fucking fuckballs shittown mic" causae its gonna do the same thing as the other mic's we have... i dont know what you are recording.. but for vox, the time has become fun with large dynamics and a spirited performance. after that, then i just fuck it up with adding tpo much reverb delay and other shit... vox are the last thing i know what to do with.. its a shame.

I love this post.

calaverasgrandes · Post by **calaverasgrandes** » Fri Feb 20, 2009 11:33 pm

honkyjonk wrote:Why try to get fancy?
http://www.expertvillage.com/video/4219 ... o-mics.htm

Tad Donnely
He is the Brules rules of studio recording .

But more seriously.
I freaking hate "Studio Bling". In my stupid opinion mixers are studio bling. You can do a better job with a DAW and a control surface. Maybe a summing box if you really want to be a nerd. Neumans are blingin' spinning rims. They are recognizeable, expensive and not always up to the task. (I usually find them too colored, too nice).
Most monitors out there are bling, they have recognizeable faces but are really not your friend. Fucking Herman Miller Aeron blingitty bling bling chairs.
Heck most outboard is bling. I'm not gonna say a Neve pre or a Pultec are just status pieces, they are useful. But the price has really eclipsed their usefulness. I love old Neves, but I also know that a clone is gonna sound 90% as good and be 100% more reliable. Ditto for the 1176, LA2A, etc.
And the lava lamps, please no more lava lamps!

honkyjonk · Post by **honkyjonk** » Sat Feb 21, 2009 5:08 am

But Lava Lamp is such a huge sponsor for NPR.

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Reluctant to drop cash on a ?Flashy? LDC

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