Search results

Yes, connect the shield at both ends. They are showing to drop the shield on one end and that is in the case of connecting balanced line level sources (like a mixer into a power amp for example). We are dealing with mics here which requires the shield to be connected at both ends on pin 1. The...

I am not sure what you are asking... so here are two answers. All wires on both ends. Do not drop the shield on either end. I do not attach the shield to the chassis/case terminal. You are just asking for trouble doing that. Solder the lines from pin to pin and that is it. Let the equipment...

Canare Star Quad is all I use. Look at the cut sheet here with a balanced wiring diagram. Long story short, the shield goes to pin 1, I send the two white to pin 2, and the two blue to pin 3. It has slightly higher capacitance than Mogami (which is the huge buzz word on why to buy one mic cable...

Hrm, I would double check as I have been using those for years and no ratchet or locking mechanism so far as I have ever encountered... unless they changed the design? Heh, audio is funny, we can even disagree on connectors. Neutrik is certainly a solder necessary connector just in case anyone...

No need with the standard Neutrik. They simply unscrew. http://www.markertek.com/Product.asp?cat=CABLESCONN&subcat=ACONNECT&prodclass=XLRCON&baseitem=NC3FX&search=0&off=0&showreturn=1 You want the NC3MX and NC3FX.

I personally much much much prefer Neutrik to Switchcraft. Switchcraft with its crimping to the jacket and need for screws just seems kludgy and primitive to me. Neutrik is nice, neat and tooless.

+1 for Markertek As for cable, I am a Canare Star Quad fan myself. http://www.markertek.com/Product.asp?baseItem=L%2D4E6S&cat=CABLESCONN&subcat=BULKCABLE&prodClass=AUDIOBULK&mfg=Canare+Corporation+of+America&search=0&off=

Wouldn't use the 1820M pres with the SM7 "lots of times" if it didn't work.

Are you sure you aren't thinking of the SM7B?

I have used my SM7 with the built in pres of the 1820M lots of times. Just do it and quit worrying about it. If you don't like what you get, then deal with it.

Looks like they are gunning for replicas of all the old guard. Heh, some of the translations are pretty funny though.

These are all from the latest group buy and so far as I know this is the first batch to be imported.... no one has had any experience with them at all.

MSH-1? Used SM81? To be quite honest, one of my favorite acoustic guitar mics is the ADK Generis GC1 (probably the exact same thing as the MXL V63M with a different label as they look identical). It is a Chinese cheapo and sounds meh on most everything else, but for this one purpose I have found...

I have had "noisy" cables too... but it almost always comes down to the cable having gone bad internally... broken shields or bad connections or whatever.

Just checking back on this thread. Yesterday I used the 421 on its maiden session at my place on floor tom. All I have to say is holy crap! I had used 57s (or 57 like mics like the Audix i5) for floor tom forever and this thing is just butter. No fricken wonder it is a standard. Slappyness...

I never found it to be particularly clicky. I just did a session yesterday on a kick I thought was at least relatively slappy (such quantifiable terms we use) and it needed a little tweaking to get the slap through. All that to say, I don't know how much I would buy into the D6 being clicky. Red...

Never owned 824s either... didn't like them at all when shopping for the reasons most folks state. I honestly thought the pair I demoed was wired out of phase as the mids sounded so screwy to me. Ended up with a pair of Event 20/20bas (precursor to the ASP8s which DO sound fantastic too) in the...

Yup! I have a '64 5x14 Supraphonic with the baseball bat dampener... that snares works on damn near anything with just regular old Emperors and maybe... just maybe some moongel. As for crack... I am all about cast hoops. They make rim shots (and side sticking) so much better IMO.

I know, I was speaking to the original poster so he didn't agonize over a kick mic for metal if his money was better spent on Drumagog. The funny thing is 98% of metal bands I have played with want that sound but have B and C as the usual problem.

To be quite frank... if metal is the sound you are after... forget getting a good kick sound. You could use a Nady $3 dynamic in that case then use sample replacement. Like it or not, that is more often than not how it is done in metal.