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Live at Leeds on vinyl..ooooohhhh. It's been so long. :(

Beyer M160 for me, it came yesterday. Smaller than I expected. Never used one before, just seen pictures. I was really surprised how little it is!

I tend to prefer ambient over close-mic drum techniques (Fletcher's 3 mic article cured me years ago) but the cheapie CAD KBM412 works great when I need something inside the drum. I also record bass DI, but I have used that same CAD mic close on heavy drop-tuned guitars with good results...

Nicely played, sir!

This is interesting...Would it be that simple, rehousing a dynamic mic in some pipe with holes cut in a metal cap? It is pretty hilarious that were talking about spending money to sound shitty, but that copperphone is pretty cool. I think you could end up using it way too much. But every kid...

Ah crap now I'm out $250. :mad:

You should get one of those fake kiddie echo mics, with the sheet-metal spiral inside...THE most affordable plate/spring reverb available.

Ugh. I knew you were going to say that...but how did the OG's do it before all this "nudging"? You know, you read about RTB putting 23 mics on a Tweed Deluxe or whatever...will the "Factor of 3" thing work, at least on the mics? To wit, if I put the Royer 3" off the grille, and the 319 9" off...

You're weird. :)

Hey...I will be recording a more complicated guitar set-up than I am used to dealing with, and I am looking for some input. Three amps, and two direct lines simultaneously....one of the direct lines is split off from the guitar before the pedalboard/amps and the other is taken from the Line...

I used to be a die-hard Hiwatt guy...but now I've found that the best recorded "cranked Hiwatt" tone is a Dr.Z KT-45 at half volume. :p "Live at Leeds" did the job on so many of us, didn't it?

+1 on the ribbon mic...I can't speak for the cheaper ones, but I haven't used an sm57 on an amp since I got the Royer 121.

I like the C1, but I always use it with the foam sock, which I think helps with the sibilance issue.

It may be my imagination, but there does seem to be an audible difference, particularly so with good guitar cable vs cheapies. But you are right, if you pay $45 for a Monster cable, the main benefit is durability, but $$30 of the cost is for labor. You can build a durable cable from the best...

Chance, you're an inspiration. I realized I missed the first boat, but I'll be watching this thread to see if any of these generic ribbons are to be had in the future. Very cool. I doubt they'll replace the Royers, but it's the principle of the thing. Stick it to the man.

I don't think you even need to go that far...I saw a guy just set an old NS-10 in front of the kick, plugged in like any mic, with a 57 close to the beater for some click. I wonder, does it need to be a pretty small speaker for the kick to get the cone moving? Or would a 12" guitar speaker...

In this case, trying to save money ends up wasting money. But as Robert D pointed out, buying pricey pre-made cables is a waste, too, when you can buy the best cable, Canare Starquad or Mogami or whatever, and the best connectors, and make a 20ft cable for the same money as the junk from...

Have you tried an SM58? I'm serious. I think it gets overlooked as a vocal recording mic because it is so common. But I usually put one up with a more traditional vocal condenser like a AT4033, C414, or SPC1 and record both, and you'd be surprised how often the 58 track ends up being mixed more...

I think it is a great piece of gear...I had a bank-switching issue when I first installed, but it turned out to be an easy fix(see my thread below) since then it has performed like a champ. I think this type of interface is the future of the whole Tascam company....just as they went to cassette...

I'm actually listening to that right now. What do you know about the vocal sounds they got? I've been curious since the day I bought it. So, yeah, Loveless. I dig Roy Thomas Baker's work with Queen and the Cars...I listened to the Cars first record on vinyl recently, and wow. GOOOOD...