I joined this BBS in 2003 ( I think) - basically, like most folks, in an attempt to learn as much as I could about mics before embarking on a DIY recording project. I'd worked in studios many times...but always on the other side of the desk...and now I needed to learn a few things for myself.
Since then, I've done a great deal of recording and production work, and currently have the luxury of 24-hour access to an amazing pro studio with some very nice mics.
So, I thought I'd share what I've learnt about various mics and stuff in the interim period
The most important thing I think I've learnt is that, with mics, there are so many variables that can come into play when evaluating them, it's often wise to hold off forming any concrete opinions about particular models until you've fully explored their possibilities in as many situations as you can.
For instance, the first mic I bought for the project was an ADK Vienna. I liked the mic straight away, but found it very sizzly on my voice - until I tried it in a very well treated room thru a high end Grace pre-amp.
Different story!
It sounded fabulous. Maybe still a tad bright for my vocals, but a vast difference on guitar and percussion.
I've also had the good fortune to regularly use some Neumann U87's - and I think they may be the ultimate vocal mic for me. I was truly astounded at the difference a high-end mic can bring, previously subscribing to the belief that budget mics can even come close - but they really are in another league. Shame I can't afford any, mind
Other favourites have included the AKG 414s - I can't honestly think of a better quality all-purpose LDC - , the Rode NT5's - my absolute first choice for drum o/hs ( although I tend to favour minimal kits and o/hs so low they're almost spot mics), the Oktava MC012 ( of course!), and an old Calrec Soundfield mic which, foregoing its' intended use as an Ambisonic surround mic, is perhaps the most detailed and "natural" sounding mic I've heard.
The only real dog I've found is the Rode NT1000, which I really don't like at all...and I've tried it out in many situations.
What else? Oh yeah, in nearly all cases the very best sound comes from the best performance. What can sound lame and dull in one take can be utterly transformed in another - without you changing a damn thing mic-wise
That's all really. I still love checking in to the forum for opinions and debate and "what's the best mic in the world"? polls, but have found that trusting my own ears and doing lots of experiments with placement, rooms, unlikely uses, different performers etc. etc. is the only way you can ever truly learn anything beyond "bang for buck" type knowledge.
Not saying that's not useful, just limited.
So I guess I've been stating the obvious as far as many of the seasoned engineers here are concerned, but I just wanted to say that though a lot of what I previously read in the forum made sense from a theoretical point of view, I often couldn't relate it to anything specific.
And now I can.
Since then, I've done a great deal of recording and production work, and currently have the luxury of 24-hour access to an amazing pro studio with some very nice mics.
So, I thought I'd share what I've learnt about various mics and stuff in the interim period
The most important thing I think I've learnt is that, with mics, there are so many variables that can come into play when evaluating them, it's often wise to hold off forming any concrete opinions about particular models until you've fully explored their possibilities in as many situations as you can.
For instance, the first mic I bought for the project was an ADK Vienna. I liked the mic straight away, but found it very sizzly on my voice - until I tried it in a very well treated room thru a high end Grace pre-amp.
Different story!
It sounded fabulous. Maybe still a tad bright for my vocals, but a vast difference on guitar and percussion.
I've also had the good fortune to regularly use some Neumann U87's - and I think they may be the ultimate vocal mic for me. I was truly astounded at the difference a high-end mic can bring, previously subscribing to the belief that budget mics can even come close - but they really are in another league. Shame I can't afford any, mind
Other favourites have included the AKG 414s - I can't honestly think of a better quality all-purpose LDC - , the Rode NT5's - my absolute first choice for drum o/hs ( although I tend to favour minimal kits and o/hs so low they're almost spot mics), the Oktava MC012 ( of course!), and an old Calrec Soundfield mic which, foregoing its' intended use as an Ambisonic surround mic, is perhaps the most detailed and "natural" sounding mic I've heard.
The only real dog I've found is the Rode NT1000, which I really don't like at all...and I've tried it out in many situations.
What else? Oh yeah, in nearly all cases the very best sound comes from the best performance. What can sound lame and dull in one take can be utterly transformed in another - without you changing a damn thing mic-wise
That's all really. I still love checking in to the forum for opinions and debate and "what's the best mic in the world"? polls, but have found that trusting my own ears and doing lots of experiments with placement, rooms, unlikely uses, different performers etc. etc. is the only way you can ever truly learn anything beyond "bang for buck" type knowledge.
Not saying that's not useful, just limited.
So I guess I've been stating the obvious as far as many of the seasoned engineers here are concerned, but I just wanted to say that though a lot of what I previously read in the forum made sense from a theoretical point of view, I often couldn't relate it to anything specific.
And now I can.
