DId DOT post this yet??

Those are some pretty damn slick simple vocals. The retro sound of all those 57's blends fairly well with the new country vocal. I would more likely find a lead guitarist. In the end, if the talent is good, I'll record your show with Nady and Behringer and make it sound good. If the bands are more flaky, you're in for "creative" editing.-Richie
 
Not mentioned here....

The Roland preamps in that unit are pretty nice. That box is around $2000.
The room he was in was well treated or acoustically perfect. Minimum investment maybe $500-$1000.

The sound is not always just the mics. Thought I should point that out.
 
Middleman said:
Not mentioned here....

The Roland preamps in that unit are pretty nice. That box is around $2000.
The room he was in was well treated or acoustically perfect. Minimum investment maybe $500-$1000.

The sound is not always just the mics. Thought I should point that out.
Click to expand...

Honestly, how much of the room is gonna be picked up in an SM57? No, really. I'm asking.

Also, I wonder, quality wise, how good the pre's and converters are in that Roland box compared to other pre's and converters.
 
TravisinFlorida said:
Honestly, how much of the room is gonna be picked up in an SM57? No, really. I'm asking.

Also, I wonder, quality wise, how good the pre's and converters are in that Roland box compared to other pre's and converters.
Click to expand...

Actually the pres and convertors sounded very good, not colorful but accurate. No digital hardness and thank goodness he did not compress them excessively.

RE: 57 room noise. Totally depends on the room size and architecture but I have used a 57 in a small untreated room and it sounded like a recording done inside a tremelo unit. His tracks were very dry, little room noise, even from the overhead.
 
Whewww... Sounds pretty nice...

Anybody got any 57's they wanna get rid of...? I've got a closet full of Rode's and Neumann's I'll trade... ;) Actually, I've got about 10 57's too... Gotta get those out of the case more!

If all of that is in the room, I've gotta get busy working on my room!

BTW, not to hi-jack this thread, but I see a lot of posts on treating your monitoring environment, but very little I've found on treating your recording environment... I record all acoustic instruments, and vocals... Can someone point me to a page/thread dealing with this type of room treatment?

Thanks in advance,
 
Great point made here. It's not the gear but what you do with it, and that includes LISTENING. That's where the art of recording is. Mics (ANY mic) only picks up what it hears.
 
Nice example of what can be done. I do agree, the room has A LOT to do with how ANY mic "hears" a room.

Did you read Kelly's bio? "... in the studio business for about 20 years or so... writing, arranging, performing and recording... engineering... perform 3-4x month, etc.

So, sometimes it takes talent AND experience to get the job done...

Not an easy task for the myriad frustrated musicians trying to record, perform, engineer, produce, arrange, mix and master their own recordings.

(not to mention a degree in acoustic science and construction just to get a good room sound ...:eek: )

Kudos to Kelly... one green chicklet for the slobbermonster...
 
I recently discovered that I should have aquired my monitors earlier. It's amazing how much more confident and quicker and yes even "qualitier" (my own word) the mxes are. I was trying to convince my father in law, who records alot. He has the most horrible setup for mixing, he mixes with dinky, and I mean dinky, headphones and old as sin computer speakers. He tries his RCA stereo sometimes, but something isn't hooked up right on it and everything sounds bad. I told him, and I think this is accurate, that I can probably do a better song with meduim quality mics and great monitors, than I could with great mics and nothing but a stereo or headphones for monitors. Cause at least I can fix what I can hear, I can't fix what I can't hear.
 
Zetajazz44 said:
BTW, not to hi-jack this thread, but I see a lot of posts on treating your monitoring environment, but very little I've found on treating your recording environment... I record all acoustic instruments, and vocals... Can someone point me to a page/thread dealing with this type of room treatment?

Thanks in advance,
Click to expand...

The studio building and display forum has a lot of information. Ethan Winer's site www.realtraps.com has links to a lot of the articles he's written. http://www.johnlsayers.com/ has a lot of good info, as does http://www.saecollege.de/reference_material/index.html
 
I thought it sounded a lot like a song recorded with a bunch of 57s. Nice job at that, and my good old 57s have job security, but they're good at what they're good at, and not at what they're not.

-RD
 
I was looking at the Oceanway site, admiring their gear, they own more of the the SM57 (20 to be exact) than any other mic in their lockers.
 
Robert D said:
I thought it sounded a lot like a song recorded with a bunch of 57s.
Click to expand...
Funny ... that's what I thought it sounded like too. I can see how it's a useful antidote to gear lust, but it doesn't really prove that the SM57 is the budget mic to end all mics ....... :confused:
 
You must log in or register to reply here.
Back
Top