Kick mic (large dyn.) on vox?

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Kick mic (large dyn.) on vox?

Post by vvv » Sat Jun 25, 2011 2:21 pm

Senn e602: It works aiight, I guess; actually, I rather like it after some pass-filtering ...

Can hear it, here.

Anyone tried a D112, etc.?

Of course, I've read that that the RE20 and 320 and the SM7 work well for both.
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Post by drumsound » Sat Jun 25, 2011 4:24 pm

421 and M88 are both great for BD and vocals as well.

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Post by The Scum » Sat Jun 25, 2011 5:53 pm

There's probably a distinction here: general-purpose mics that do OK on kick drum, versus dedicated kick mics.

The GP mics are probably reasonably flat, but with some extra LF extension or proximity effect that helps them flatter a kick. Any they probably work OK on vocals - lots of RE20 and 421 on vox in my portfolio.

The dedicated kick mics often have LF and HF peaks (for boom and attack), and a midrange scoop that probably counteracts vocal applications...unless you fight those with EQ and filtering.

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Post by drumsound » Sat Jun 25, 2011 7:52 pm

The Scum wrote:There's probably a distinction here: general-purpose mics that do OK on kick drum, versus dedicated kick mics.

The GP mics are probably reasonably flat, but with some extra LF extension or proximity effect that helps them flatter a kick. Any they probably work OK on vocals - lots of RE20 and 421 on vox in my portfolio.

The dedicated kick mics often have LF and HF peaks (for boom and attack), and a midrange scoop that probably counteracts vocal applications...unless you fight those with EQ and filtering.
Good point.

You can also use modern BD mics on vocals for affect as well.

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Post by vvv » Sat Jun 25, 2011 9:20 pm

Well, the e602 is said to be a kick and bass mic, with the afore-mentioned EQ curve.

I pass-filtered out the lows and extreme high, only, and recorded through a Meek VC3Q with my standard vocal EQ settings - 4 dB up on the mid, 3 db up on the high and 2 down on the low, and compression. There is then add'l compression on mix-down, as well as delay on the lead voc, plate on the BV's, and limiting.

So, doya's think it sounds aiight, or no?

I find it pretty smooth-sounding, and I'm craving a SM7.
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Post by Snarl 12/8 » Sun Jun 26, 2011 1:14 am

I find this surprising...

e602

Image

d112

Image

Kindof explains why the woofer surrounds on my "monitors" disintegrated days after getting the e602 after years of putting up with the d112.
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Post by sessionsatstudiom » Sun Jun 26, 2011 9:16 am

I have used the D112 as a vocal mic before. Not always my first choice but worked in that situation.

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Post by vxboogie » Sun Jun 26, 2011 1:12 pm

FYI - graph above is for the e602 II

This is the original e602:
Image
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Post by vvv » Sun Jun 26, 2011 3:04 pm

Mine is the original ...
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Post by jgimbel » Sun Jun 26, 2011 3:19 pm

I was working on a song on the last album I did. Guitars were sounding great, some of the better guitar sounds I ended up with on the album, drum sounds were pretty cool, everything was done except the vocals. I had used an SM7 or 4050 for all of the rest of the vocal tracks on the album. Neither of them sounded right in this track, no matter how I EQ'd them. Kind of confusing because it's not like it's an especially busy track or lots of weird things going on, a great example in how you HAVE to look at things as you're doing them and some folks setting up a standard "I use this mic on this, this on this" etc." does NOT always work. I went through every mic I had with different sounds. SM57, EV 635a, a few MXLs, no luck. Last one? D112. Fit like a glove, no EQ, perfect.

This is the song:
http://jessegimbel.bandcamp.com/track/night-song

Some compression, doubled the track and used it as a slapback kind of sound (EQ on that track I believe). I haven't used it since, but on that song it worked so perfectly and nothing else I had sounded even half as good. I was surprised and so pleased.
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Post by losthighway » Sun Jun 26, 2011 10:42 pm

jgimbel wrote:
This is the song:
http://jessegimbel.bandcamp.com/track/night-song

Some compression, doubled the track and used it as a slapback kind of sound (EQ on that track I believe). I haven't used it since, but on that song it worked so perfectly and nothing else I had sounded even half as good. I was surprised and so pleased.
Great job. Classy sounding.

I dig the 'slapback' trick with a copied track. Funny thing, I was working with a singer today who loved doubling everything. On one song his double was so similar only slightly different timing on a narrow margin of human error.... when I tucked it under the main track it sounded the same as one of my slap back effected tracks.

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Post by Snarl 12/8 » Mon Jun 27, 2011 1:51 am

Kinda OT, but my d122 has been living on the snare since the e602 kicked it off the kick. First usable snare tracks I think I've ever gotten.
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Post by cgarges » Mon Jun 27, 2011 8:08 am

I've been using a D112 for some vocals since 1997. I've also used it on guitar amps, bass amps, pianos, floor toms, snare drums, Leslie cabinets, contra alto clarinet, and probably some other stuff, too.

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Post by eeldip » Mon Jun 27, 2011 8:33 am

beyer m380 is sometimes awesome for vocals.

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Post by vvv » Mon Jun 27, 2011 4:15 pm

If ya head over to the "Listen to My Shite" forum, and the Tom Waits thread (join in!), ya can hear it again.
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