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All of the generations I have tried, which include NT1 and NT1A. I worked in a music shop for nine years, so I think I got that part covered.

All of them I’m afraid. They may claim, that the NT1-whatever is the most silent microphone in existance, but it is truely one of the least flattering sounding to my ears.

Well, that is not the case here. Among a bunch of other mics I have the Blue Bottle kit with all available capsules - and also a custom made CT-12 (Tim Campbell). And even though I usually will start out with one of 2-3 capsules, I tend to try with all capsules - and the experience just tells...

I would almost agree to that. The SM7 is a great mic, but in no way is it the reasonable choice as the first, second or third mic. It’s a nice addition to the toolbox if it already covers the basic ground, but not as one of the first IMHO. I also beg to differ about the praising of the NT1. In...

It has been almost four months since I’ve been in my appartment with my suite, but here’s my latest Remote-studio; ...just figuring out I have no idea how to post a picture here ?

I would choose the most transparent option in the range. DPA 2011C would be an excellent choice. Any colouration of one mic will leave a fotoprint on every track you record. And you don’t want that same footprint on every track! There’s a Series of Microphone tutorials below, that I think you...

Mixolydian (b9, b13) - an inversion of F-harmonic minor. Or yes, phrygian dominant. Will work like a charm on almost any V7 (dominant 7th chord) going to Im (Tonica minor).

The SansAmp classic stompbox seems to work wonders for this kind od things. Also the Radial JDX Direct Drive does a good job. ...but you could also use HP- and LP-filters for cab simulation. Just Cut everything below 100Hz and everything above 6kHz and you’re good to go ?

As the Corona pandemic has me grounded on my third month now I decided to make use of all the free time on my hands, so I wrote seven songs in seven days. Songs written, tracked, mixed - and release two hours before deadline on day seven. It’s seven song in quite different styles of music. The...

Woops. Typo. Of course it will DEcrease the more you bring in the MID channel! Still tho, the issue with the unstable stereo image still remains.

Apparently the link does not show up. Alternativeliv use the text below for a YouTube search. It’ll pop up as the first choice; Highend Home Studio in a box Tour - Corona edition

Hi all I have just joined this forum and thought the video link below would be a great way to introduce myself. It’s a bit long, but you are free to scroll through it if I bore you to death ;-) It’s basically a tour of my studio. Signal flow, equipment and such. https://youtu.be/5Gr_vozzKi4...

You should definitely be extremely cautious with using M/S compression. If you know the Nature of M/S you’ll know that tuning up the MID channel will decrease the percepted stereo width. So if the MID is compression a lot, the stereo with will be unstable ;-) EQ would work fine, but compression...

The SM7B sounds like a wise choice. Also consider an AT4033 or a DPA d:facto 4018L (the linear version). Those would give you more flexibility for future recordings.

For the accordion I’d strongly suggest using an old ribbon mic and supplying with phantom power. The same goes for banjos and bag pipes ??

I find the AT4033 to be an excellent utility mic and, without the intention to offend anyone, find the NT1A to be somewhat close to the worst microphone ever build. I would definitely choose the AT4033 ?

I’d reach for the most natural reproducing Microphones when recording piano if the piano has a primary rolle in the song. If it is fills or a smaller role in the arrangement, I would experiment with which mics would compliment the piano role the best.

Definitely spend 1500 on set of good reference monitors if possible. That’ll take you the farthest IMHO.

I’d suggest, depending on your budget, to get an interface with at least 8 mic inputs. You could do with as little as three inputs, but it takes a lot of practice to get the mic positioning right - and while it is a cool authentic sound, it does have it’s limitations.

I have some times tracked a pre-mix, transposed it down a couple of semitones, and then used that as monitormix for my High Pitched Vocal harmonies. After this I have deleted the pre-mix, pitched the vocals up so they matched the original recording. If this is done in a busy harmony section...