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The bridge on that song (Goodnight, Sweetheart) is just beautiful. Goodnight, Mr. Hudson.

I don't think there exists a used moving-coil dynamic microphone that's worth $600 to me. Maybe to a collector.

I think we're confusing the issue a bit here. Using an analog tape deck in any way in the digital recording process should be viewed as an effect, same as any other effect. The results will differ, obviously, with the tape deck used. If you want the recording to sound like it was recorded on...

Oh, I'm talking about earlier stuff than that. The Orioles, The Drifters from the mid-1950s with Clyde McPhatter, the Chords (Sh-boom), the Penguins (Earth Angel). They sound like they're from the same studio where Ray Charles did his great recordings for Atlantic, with a great palpable...

Yes, Glen, you're right: There are many different schools of doo wop, and many of them incorporate reverb in recording. My mind, when I hear the term "doo wop", automatically goes to those wonderful early Atlantic recordings where the singers are in the room with the listener.

Glen, I think classic doo-wop from the 1950s didn't use a lot of reverb. I think of a pretty dry sound with the space coming from the actual distance-to-microphone of the singers. An RCA 44 would be great, with the lead singer a couple of feet away and the others 4-6 feet off. And yes...

Well, you have to ask yourself - do you want it to sound like recordings by the Persuasions or the Drifters? There's quite a range of sounds. In the days when doo-wop was ascendant, usually one but no more than two mics would be used for the singing. The singers balanced themselves by dynamic...

Other way around. Monaural summing will reveal phase problems more than panned tracks.

The connector is "Amphenol." These mics can be wired for high or low impedance. Here's a pretty nice explanatory web page: http://www.angelfire.com/music/harmonica/shure545.html I have a 545SD, with the body for stationary (not hand-held) mounting. My wife picked it up for $20 at an estate...

If the same signal is split and panned hard left and right, it is exactly the same as putting it right down the middle.

I have a video compilation of live Beatles performances. Hands down, the sound is best from a show where they were singing through MD421s.

+40 db is okay for input sensitivity (trim). The SM57 is kind of a medium-output dynamic mic, not too low, not too high. Does the preamp perhaps have a mic/line switch which you've overlooked? I'd second MadAudio's question/comment, wondering what the input setting on your sound card is set...

pohaku, I have a M500TG, an M500(N) which I had Stephen Sank do his "77DX" mod to, and the "Classic", the one you like, which was reribboned by Clarence Kane. The Classic is my favorite too. Wonderful microphone. It's like butterscotch syrup on a male voice. My 260 is actually branded...

I'd agree with this for male vocals. I have three M500s of differing varieties and pedigrees, and I use the best of them when I perform, but the M260 sounds best on my wife. It doesn't have that built-in presence rise that the 500s do. And she's a pretty "plosive" singer, which the 260...

The EV N/D 367 is really a good microphone for live performance, especially for females (or males for that matter) whose voices could stand a little thickening. This is the one I would choose for under $150. Or for even less you could find a used EV PL80, which seems to exhibit similar...

I've said this for years! I've worked for bandleaders who don't like to take breaks; my argument is that the audience needs breaks as much as the performers do.

I'd add this: In my opinion, the long-playing vinyl record imposed the optimum time constraint on an album. I have many CDs which use all the available time (70-80 minutes), and I suffer listening fatigue before they're done. No matter how good the music, I'm ready for something else after 35...

Yes, I'll second this question. I don't get why you don't just play the song in the proper key for your voice using the standard tuning?

Well, if you come up with 30 good seconds, do what the Beatles did on Abbey Road. Make medleys!

No, the SM7's behavior is not typical of ribbon mics. It is typical of a high-quality moving-coil dynamic microphone. But they (SM7 and good ribbon mics) are good for many of the same uses.