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Thread: Recording Acoustic Guitar - 21 Mics, 1 Guitar, 1 Song.

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    Recording Acoustic Guitar - 21 Mics, 1 Guitar, 1 Song.

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    Recording Acoustic Guitar—Comparisons of Dynamic, Condenser, and Ribbon Mics on Acoustic

    From The Hal Leonard Recording Method: Microphones & Mixers, 2nd Edition, this is an amazing grouping of microphones, all on the same guitar with the same musical part. The sonic differences between the mics speak for themselves.

    Hal Leonard Recording Method - Book 1: Microphones & Mixers - 2nd Edition
    Music Pro Guides

    Series: Music Pro Guide Books & DVDs
    Publisher: Hal Leonard
    Format: Softcover with DVD
    Author : Bill Gibson
    Release Date: 11/22/2011




    Microphones appearing in the video:

    00:25 Shure SM58 (Cardioid, Dynamic Moving-Coil)
    00:47 Shure Beta 57A (Cardioid, Dynamic Moving Coil)
    01:08 Shure Beta 52 (Cardioid, Dynamic Moving-Coil)
    01:29 Electro-Voice 650 (Dynamic Moving Coil)
    01:51 Sennheiser 421 (Cardioid, Dynamic Moving Coil)
    02:12 AKG 820 (Bidirectional, Large-Diaphragm Tube)
    02:34 AKG 820 (Cardioid, Large-Diaphragm Tube)
    02:56 AKG 820 (Omni, Large-Diaphragm Tube)
    03:17 AT4047 MP (Bidirectional, Large-Diaphragm Condenser)
    03:39 AT4047 MP (Cardioid, Large-Diaphragm Condenser)
    04:01 AT4047 MP (Omni, Large-Diaphragm Condenser)
    04:24 Shure KSM 32 (Large-Diaphragm Condenser)
    04:45 Shure KSM 44 (Cardioid, Large-Diaphragm Condenser)
    05:07 Shure KSM 44 (Omni, Large-Diaphragm Condenser)
    05:29 Shure KSM 44 (Bidirectional, Large-Diaphragm Condenser)
    05:52 AKG 451 (Cardioid, Small-Diaphragm Condenser)
    06:13 Shure KSM 141 (Cardioid, Small-Diaphragm Condenser)
    06:36 Shure KSM 141 (Omni, Small-Diaphragm Condenser)
    06:58 AT 4041 (Cardioid, Small-Diaphragm Condenser)
    07:19 Shure Beta 87 (Cardioid, Electret Condenser)
    07:40 AT 2010 (Cardioid, Condenser)
    08:01 AKG C414 (Cardioid, Large-Diaphragm Condenser)
    08:23 AKG C414 (Omni, Large-Diaphragm Condenser)
    08:44 AKG C414 (Bidirectional, Large-Diaphragm Condenser)
    09:06 Audio Technica 4080 (Ribbon)
    09:28 Audio Technica 4081 (Ribbon)
    09:50 Beyer M500 (Cardioid, Ribbon)
    10:11 Royer Labs R-101 (Ribbon)
    10:34 Royer Labs R-121 (Ribbon)
    10:55 Royer Labs R-122 (Ribbon)
    Usually posted from my cellphone telephone.

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    I'm very surprised at the brightness of the Beyer M500 cardioid ribbon and at the clarity of the Beta 57. The 421 didn't do a bad job, either. I've never tried the EV 650, but if I were to record an acoustic with a dynamic mic, I'd probably go with that one.
    Usually posted from my cellphone telephone.

    "What you did wrong is assume that because you read it on the internet it's not a stupid idea." - bouldersoundguy

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    Wounder why they didn't try out the AKG C1000?!?
    ♫♪♫ I have a fever and the cure is cowbell ♫♪♫ .......... *LIVE FREE OR DIE* .......... ♫ I'm all ears ♫

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    I enjoy that you do get to hear their relative differences in a comparison like this, as long as one understands that is about as far as it goes. In a normal situation you would move a mic to find a placement where it is at its best (a fairly subjective thing on its own, let alone the huge amount of variables it introduces into a comparison).

    Many of these very nice mics would (arguably) never belong five or six inches from a sound hole. Notice how the multi patterns for the most part open up' in omni w/o the proximity effects.
    And yeah, the fig-of-eight's with a ton of it are going to tend be a bit boomy - out right dull there.
    Try it say three feet out and away from the box
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    Quote Originally Posted by moresound View Post
    Wounder why they didn't try out the AKG C1000?!?
    I was surprised the B52 sounded as good as it did!

    Poor ribbons never had a chance.
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    Quote Originally Posted by moresound View Post
    Wounder why they didn't try out the AKG C1000?!?
    Wonder why on the Recording Techniques you havent responded to the invitation to say exactly what you didnt like about the sound of the AKG C1000.

    Wonder how long we must wait for the "MORE TO COME" on the AKG C1000 mic which you also foreshadowed in that thread.

    There are only a handful of mics used in the above test. Wonder if you are making the assumption that any of the excellent mics not included in the demo is automatically a bad mic?

    Tim

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    Smoke me a kipper. I'll be back for breakfast

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    Interesting it is anything but a blind test. The name and model of the mic, plus its picture is in your face.

    As already mentioned, the proximity effect doesnt seem to have been controlled for.

    Omni's, cardioids and 8's are used interchangeably. Much fairer to group them together into their pattern type.

    Dynamics, condensers and ribbons are also mixed in together. For those who understand the different mic constructions and their strengths and weaknesses it's dog's breakfast.

    The B52 is a specialised kick drum/ bass mic with a deliberately tailored and limited upper response. It would never normally be used on a guitar like that. The B52's jagged peaky response makes the C1000 look ruler flat by comparison. See the Shure link.

    http://www.shure.com/uploads/specifi...csheet.pdf.pdf



    Mixsit, if you're surprised at how good the B52 sounded, think how much better the AKG C1000 would sound, which is a more general purpose mic, designed for much better and flatter top end, and should sound much closer to the other general purpose mics tested than to the B52...

    Cheers Tim

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    Quote Originally Posted by Tim Gillett View Post
    Interesting it is anything but a blind test. The name and model of the mic, plus its picture is in your face.

    As already mentioned, the proximity effect doesnt seem to have been controlled for.

    Omni's, cardioids and 8's are used interchangeably. Much fairer to group them together into their pattern type.

    Dynamics, condensers and ribbons are also mixed in together. For those who understand the different mic constructions and their strengths and weaknesses it's dog's breakfast.

    The B52 is a specialised kick drum/ bass mic with a deliberately tailored and limited upper response. It would never normally be used on a guitar like that. The B52's jagged peaky response makes the C1000 look ruler flat by comparison. See the Shure link.

    http://www.shure.com/uploads/specifi...csheet.pdf.pdf



    Mixsit, if you're surprised at how good the B52 sounded, think how much better the AKG C1000 would sound, which is a more general purpose mic, designed for much better and flatter top end, and should sound much closer to the other general purpose mics tested than to the B52...

    Cheers Tim
    I am curious why you find the need to argue 'constantly' with everyone here. Do you not have anything better to do Tim?

    Just sayin....
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    Quote Originally Posted by jimmys69 View Post
    I am curious why you find the need to argue 'constantly' with everyone here. Do you not have anything better to do Tim?

    Just sayin....
    Strange how being positive about a perfectly good mic makes a person negative and argumentative.

    If he changed his view and agreed that the AKG C1000S mic was total crap would that make him a nice guy?

    I'm off to watch a movie.

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