"The best Mic for Me is a U47" -Band

[fuzz]

Thought I'd share this comment from the violinist in a quintet I tracked the last few days. Upon arriving, the flutist and violinist assured me that they would only be able to track with LDC's. Obviously I have no problem with any input from musicians as far as what they've known to work for them in the past. However, after reaching for a few choices the statement was made that the mic they NEEDED was a U47...

I said I didn't have a U47 and then violin player became very irate. After a "well, why am I even here" look he said he would settle for an ELAM 250.

He got a C37p aligned with an m500 ribbon, and I didn't hear any complaints. Its a bummer in the rare instances when players can only be motivated by gear, instead of the outcome.

[A.David.MacKinnon]

If they need it so bad they should be traveling with their own U47.

[kslight]

That's the point where you should be insisting on a genuine Stradivarius violin..

[rhythm ranch]

If they need it so bad they should be traveling with their own U47.

+1

[IanWalker]

Yeah, if they're that fussy, maybe they should own their own mics, but a more reasonable solution would be for them to ask for certain gear upfront, BEFORE they book a session.

When they were booking, why didn't they say "So this is the mic we prefer for the violin, and this one for the flute... do you have those?"

If you don't, then they can book with someone who does, if its that big of a deal to them.

The problem here is musicians knowing a little bit, but not a lot, and thinking that makes them an expert. Does that mic sound great on their instrument? Absolutely. But they don't know why, or how the room effects the sound, or placement, or the rest of the signal chain, if there's a compressor on it...

90% of the folks I work with have no mic knowledge whatsoever, and a few of them know a bit, but nearly all of them trust my decision making. Why would they hire you if they didn't?

[Sean Sullivan]

If they "had to have" a U47 they should have informed you so you could make arrangement to rent one, or as mentioned they should travel with their own (Del McCoury does this).

The last band I was working with really wanted a great tube microphone for their vocals, which I didn't have at the studio. So, I borrow a U47 and put it up against a Shure SM7B and my Jim Williams Audio Upgrades C 414 B-ULS. Not a single person choose the U47 as their favorite...in fact it was voted the least favorite by all the band members on all three singer's voices. So, I turned their heads around.

[Marc Alan Goodman]

Yeah some people are ridiculous. Every once in a while someone will reach the combination of (A) having worked in studios with people who misinformed them about gear, (B) having worked in other studios where people had no clue what they were doing and (C) imagining that knowing the name on a few pieces of gear is comparable to actually working with it every day.

When a client, though rarely, pulls that card I feel like there are only two good solutions. If they're right you just use whatever they suggest. But if you have something better just explain (without getting snippy) that they hired you to make exactly those decisions. And then suggest they just give something else a shot. Then blow their ears off with how awesome it sounds.

[cgarges]

Five words:

"Dreamhire" and "marked-up rental fee."

I dare say that less than 50% of the commercial recording studios operating today own a U47. For someone to get irate about a place NOT having one on-hand is ridiulous.

Did you tell them you wouldn't record them if they didn't have a real Strad?

Chris Garges
Charelotte, NC

[rhythm ranch]

Did you tell them you wouldn't record them if they didn't have a real Strad?

LOL

[cgarges]

And for the record, if I were working at a place with a U47, it would not likely be my first choice for violin. Too much forward mid-range for my taste on something like a violin.

Chris Garges
Charlotte, NC

[JGriffin]

If they "had to have" a U47 they should have informed you so you could make arrangement to rent one, or as mentioned they should travel with their own (Del McCoury does this).

We had Ken Nordine in for a VO session and he said he almost brought his U87 along because he didn't know what we had, but he was pleasantly surprised that we had one and that it sounded good.

Kind of a shame; I definitely would have put up his 87 if he'd brought it in.

[Gregg Juke]

>>>>We had Ken Nordine in for a VO session<<<<

Very cool. What did you record him on? (project, not mic or format)

GJ

[fuzz]

I thought of the Stradivarius thing too, but obviously kept my mouth shut. And yeah, we've rent plenty of mics in the past but it wasn't discussed prior the session.

I'm always open to suggestions, and will try anything seeming even remotely reasonable. In the end I went for what Mark said by killing it with what was on hand and I didn't hear another word on the subject after playback.

[decocco]

Ha ha ha ha! They'll settle for an ELAM 250! That's rich.

[Nick Sevilla]

Thought I'd share this comment from the violinist in a quintet I tracked the last few days. Upon arriving, the flutist and violinist assured me that they would only be able to track with LDC's. Obviously I have no problem with any input from musicians as far as what they've known to work for them in the past. However, after reaching for a few choices the statement was made that the mic they NEEDED was a U47...

I said I didn't have a U47 and then violin player became very irate. After a "well, why am I even here" look he said he would settle for an ELAM 250.

He got a C37p aligned with an m500 ribbon, and I didn't hear any complaints. Its a bummer in the rare instances when players can only be motivated by gear, instead of the outcome.

Tell them next time to bring their own U47 or ELAM250 to the session... see what reaction you get. That you'll be happy to use theirs.

I bet they will counter with "it's too expensive for us poor musicians" or something like that.

Cheers