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Teles are the easiest platform to mod to ones desires......

I owned a pair of those a long while back. And I bought them from GC. Like I said earlier, this was at a time when the term "matched pair" was a selling point especially for the lower end mics being produced at that time. QC for Oktava was a bit lax and you could never be sure what you might get...

Track count is totally dependent on type of arrangement and needs of the project. A typical 5 piece ensemble recorded live off the floor will use up a minimum of 12-13 tracks with a minimalist approach to drum micing. Less if it's more Jazz oriented and you are looking for the "kit" sound rather...

The best case for needing matched pairs is usually ensemble recordings in the same environment. If you have a pair stationed at two spots and are capturing a performance live off the floor, then having two mics within a few cents of each other as far as sensitivity and frequency response is...

There is a huge difference in "fiddling around" with a tool rather knowing what the tool is capable of doing and why and then applying it to purpose at hand. I agree with the premise that the initial recording should be as direct a path as possible from source to capture. But that doesn't...

I know that movie ref..... The answer to your question lies in the engineering graphs of the polar responses of a particular mic (any one that is provided with this) Learning to read these graphs can give you an insight as to how a mic can perform although most graphs are taken off of...

All of my mics are in cases and are separated by type. All the true condensers have plastic bags as well as a soft lint-free bag and are in their respective attache style cases which are housed in a large set of cabinets in the studio. I also have a metal two drawer file cabinet for mic storage...

Yeah. Those are a whole bunch of steps up. I have the 428 and it has been in my rack for a number of years simply because it works great on everything.

As for the Modern Player plus Tele, I got one and some cash in a trade for a bass I had and wasn't using. It's actually a pretty nice playing guitar and has become my "guitar-on-the-stand-in-the living-room" instrument so it gets played a lot. I am surprised at the reluctance that seems to be...

I have yet to find a DI on an amp that I like nearly as much as a passive DI with a transformer, or using the instrument inputs of a preamp I like with the appropriate amount of hardware compressor. If I do want an amp I will always use the 1967 B15 I have and close mic it with an SM7, use a...

THIS is the age-old question and has been batted around and around since the advent of online recording gear sites such as this one. Several important and mostly over-looked factors shape this answer...and as with anything YMMV... One is the environment you wish to record in. ALL LDC's...

Yeah....too many models. I believe they are working towards thinning the herd. I bought a pair of the original tt's from a studio in Nashville a few years back. Got them for a great price and while they were really good sounding mics, I wanted to increase my vocal mic collection and having two...

Currently there are specials that can be had on the newest generation of ADK mics. But you have to know who to ask.......Astroaudiopdx.com Sorry for the shill! But they are as close to Larry as is it gets....AND they have a demo model of the TC-251. I have a modded Area 51 TT with that...

Sometimes when nothing else works for bass, I go back to the basics....

I've had the SE mics in to demo and they were very good and useful. I didn't buy them simply because I have so many quality SDC's in my mic locker. It's good advice to look at the SDC for all types of acoustic instrument work especially if your recording environment is not up to snuff. An SDC...

I have been using multiple EQ's on my playback mix bass tracks with no compression on those....and then bussing to another track and adding the compression there and blending the two into an Aux master with a final touch of compression. But zero compression on the EQ'd track. I find it sits in...

The part is going to determine what you need on the bass at tracking. If there is a lot of articulation, perhaps a lot of string popping or thumb slapping, then you will want a limiter FIRST and then some sort of compression. Something that has a lot of quarter and half notes requires someone...

You will never need a lot of compression when going to tape. It has it's own compression! For vocal tracking with ANY comp you need to simply shave off any serious overs you might encounter and get the meter to sit at a fairly even place. A little deflection goes a long way. The 160a does get...

I don't think you have anything in your rack even remotely close to the 160A. Even the 166xl, while being a vca controlled compressor does things a bit different than the 160A. The 160A is... excuse the expression....stupid simple to use. And it sounds great. You'll love it on kik drum, snare...

Any time you have a low-sensitivity mic without much of it's own gain you have to turn up the amplifying device in order to get a usable level into your recording medium. Turning up amplification devices adds noise. But you all know this already....right? Even if it's a small amount of noise and...