Search results

yea, i had one for a while, i actually really liked it on some snares. it aint too hot for vocals. great on bass cabs. i think a better mic which is awfully similar is the at 4033. another medium diaphram condenser.

sounds like you were overloading the pres. not the mic. ev rocks. you wrong! checkemout stedman n90 as well. cheap.

yes and no. you could use a mic/line transformer with a line amp. not ideal, but doable. in a pinch it will get you buy till you save up for a pre. sm57s in england arent quite as easy to get over here in the states. musicgoround.com has a bunch for $49. dunno where you would get them o'er...

if you are a recording student, then i heartily recomend getting the symetrix sx202 and performing as many of the "monte mods" that you can. http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&selm=Gpop71.KD4%40world.std.com&rnum=1 it will give you a decent enough preamp to keep for a long...

you are on to something here. yes, this works and works quite well (although not really as a "chorusey" effect). one up close mic, one far mic for vocals... the far one will add more room sound to your voice. you can mix it with the other vocal in a cool way, like automate it up on the chorus...

halo halomike, the answer is, you can do a lot better than the 266s- but they will work fine and if you are getting a good deal, go for it. as far as other compressors, the standard advice is that you need to look no farther than an RNC. buy used, and spend no more than $135 or so. a symetrix...

the sm57 is best at being an sm57. it is the "blue jeans" of the mic world. even when it doesnt sound "good" it sounds "fine" because it sounds like an sm57, which is to say, it bears a sonic stamp that is found all the fuck over the majority of recordings made in the last 30 years or so...

you might have an m260.80 which at an attenuated low end. the original m260 is pretty thick on bottom with a TON of proximity effect. soundwise it solidly says "ribbon", although it is unique in some other respects. people with the "sank mod" report that it gets very close to RCA in sound...

the beyer m260 i think is the best starter ribbon. $200 or so used.

i would start with option 1. cause it will only cost you the $30 for the cheap BD mic. by the way there is a $40 (will probably go a bit higher) audix d4 on instrument exchange right now. i would aim for that mic over the superlux. also, i wouldnt use your nt1 in a position over your drums, i...

that makes sense.

the thing about dumping $1000+ on a mic is that dealers treat you nicely. go find someone local, take one or more home or spend some serious time at the store. or another thing to think about is call around and see if there is a studio in town with a bunch of blue mics, you could book an hour...

ok, just got a pair of nice 666's in. testing them out... and damn if they sound amazing on my earthworks pre, but all other pres they sound like doo doo. i mean Doo Doo. no other mic of mine sounds this different from pre to pre. i am imagining that this may be due to loading problems? i...

that is why you usually see the ribbon mics pointing up to the vocalist in old pictures.. i assume. dont know for sure. but that is what i would do... of course in those days there werent floor monitors.. pointing the back end of a figure 8 to the floor monitor is a uh.. bad idea. ribbon mics...

beyer m160. you aint got no ribbon mic.

http://www.mouser.com/index.cfm?handler=displayproduct&lstdispproductid=435476&e_categoryid=134&e_pcodeid=52321 i would call to make sure this is right.

no, i think you might be right about the air, but it might also be that the e22s (whoops i called them c22s) also seem to just have a bit less in the 8k zone, which makes it easier to hear the 12k+ stuff. anyway, they certainly are very nice sounding. very classy. if i had $1200 lying around i...

i certainly like the c22s the best, but it sounds to me like the biggest difference between these mics is their pickup pattern. c22s are picking up quite a bit less of the room from what i hear than all the other mics.

exactly. although you could set the amp just right, and get it to only saturate on loud passages. but if you listen to kinks stuff, the saturation sounds more direct, like the board was overloading. pretty different sound.

you can set the amp to overdrive... if you set the amp clean, you will as you predict only get the benefit of the top and bottom rolled off, and some slight compression, and whatever strangeness an amp and speaker and a mic will add (which will be a lot).