414 for voc OK?

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414 for voc OK?

Post by -3db » Wed Nov 23, 2011 6:48 am

Until I stuff the cookie jar enough for something else, the only LDC that I have is an AKG 414. I use it for OH, room, in front of amps, but do any of you guys use actually that for Voc's?

This is a 414 XLS. I think it sounds ok, and the pattern selection is great. I'll send it through a UA 6176 into PT. But I just don't hear a lot about it on voc. So just wondering...
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Post by Gregg Juke » Wed Nov 23, 2011 6:54 am

It is the best mike that anyone has ever used on my voice (your mileage may vary)... And I have sung/done voice-over through U87's, RCA ribbons, and just about anything else you can think of. When I can afford one for my own studio, that purchase is a definite.

Cardioid through a decent preamp, you should be more than fine. It does clarify/emphasize highs a bit though, so I wouldn't use it if you're going for anything "dark."

GJ
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Post by -3db » Wed Nov 23, 2011 7:46 am

Great! Good to know. I was a bit nervous for some reason. So far for me, an SM7b and 441 were fine, but now I have someone else interested doing vocs, so I was thinking 414, why not?

At the studio I help out in, I have never seen those 414's come out of the locker for vocals because of all those great vintage LDC's available there. On my own, I just have to use what I have.
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Post by jgimbel » Wed Nov 23, 2011 8:21 am

Not that I think it's some mind-blowing example, but I've heard time and time again that a 414 is generally used for Chris Martin of Coldplay's vocals.

I don't own a 414 but I've used one, and while of course it's not a character mic, I can't see why it wouldn't work well. I've used my 4050 for vocals well, which is another mic known for being pretty clean and natural sounding. Since it presents things pretty much as they are it's not going to attenuate sibilance and I'd expect the same from a 414, but hell, that's the situation with a lot of mics people love for vocals. Go for it, I'd say not only will it work but there's a good chance it'll be really nice!
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Post by -3db » Wed Nov 23, 2011 8:39 am

Chris Martin? Ahh now that's a good frame of reference. So this is good for his range.

Great
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Post by chris harris » Wed Nov 23, 2011 8:55 am

If it sounds good, it is good. One of the most important parts of audio engineering is developing confidence in your ability to judge what you're hearing. Without that confidence, you'll waste an outrageous amount of time second-guessing yourself.

You don't read a lot about people tracking vocals with a d112. But, I've done it. And, I've gotten some really cool sounds trying things that buck conventional wisdom. Just do what sounds best to you.

BTW, there's really no source that I'd hesitate to record with a 414. Great mics.

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Post by jgimbel » Wed Nov 23, 2011 10:55 am

chris harris wrote:You don't read a lot about people tracking vocals with a d112. But, I've done it. And, I've gotten some really cool sounds trying things that buck conventional wisdom. Just do what sounds best to you.
Another "not the best example" (for example, not for self promo!), but I did vocals on this song on my last album with a D112 - http://jessegimbel.bandcamp.com/track/night-song

And the "effect"-iness is much more from the processing than the mic's sound alone, for whatever reason in that mix the D112 sounded much more natural than the number of other mics I was using normally.
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Post by Jeff White » Wed Nov 23, 2011 11:51 am

jgimbel wrote:...but I did vocals on this song on my last album with a D112 - http://jessegimbel.bandcamp.com/track/night-song.
I totally miss playing this song!

All of the vocals on the Nightlands debut (Secretly Canadian) were done with my 1993 414 B/ULS: http://nightlands.bandcamp.com/album/forget-the-mantra

If it works for the singer, it works.

On a side note, I feel the same way about the Shure SM7b. Doesn't work all of the time, but when it does it seems to absolutely rule.

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Post by mjau » Wed Nov 23, 2011 1:57 pm

414's cool for lots of stuff. It's rare (in fact, never) that I've thought it was absolutely wrong for something. I haven't used the XLS version, but I can't imagine it's that different from other versions.

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Post by Gregg Juke » Wed Nov 23, 2011 2:02 pm

PS-- I've seen lots of videos of voice-over studios (actors for animated features and motion comics, for example) recording into 414's, so it's probably more routine than you might think.

GJ

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Post by -3db » Wed Nov 23, 2011 2:13 pm

Oops it's an XLII. Not anXLS. sorry, doh!

I broke out the paperwork that came with it. There is a slight bump at 3k then another at 6k. it's supposed to sound like a C12. But I can't compare with an a/b.

Thanks guys, feeling better now. I would hate to have him record then listen back to something not so good.
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Post by Jeff White » Wed Nov 23, 2011 2:47 pm

The 414 has come in 2 flavors for years. The B/ULS and the TLII (tuned for vocals) were the instrument and vocal versions of this mic in the 1990s. Seems like they have continued this trend with the newer versions of the 414 as well.

Jeff
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Post by -3db » Wed Nov 23, 2011 3:05 pm

ipressrecord wrote:The 414 has come in 2 flavors for years. The B/ULS and the TLII (tuned for vocals) were the instrument and vocal versions of this mic in the 1990s. Seems like they have continued this trend with the newer versions of the 414 as well.

Jeff
Yes that's along the line of what I was thinking. Putting up the wrong mike. But it seems like the 414 will do the job.

If you have a big well stocked locker, just put up something else, but for me it's either the 414, SDC, or dynamics. I know some even like the RE 20 for vocal.
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Post by digitaldrummer » Thu Nov 24, 2011 5:21 pm

I've used the 414-ULS with an LA-610 on a couple singers and had good success.
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Post by Scodiddly » Thu Nov 24, 2011 6:58 pm

Seems to work for this dude...

http://www.youtube.com/watch?v=zepxgMEz5IM

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