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Yeah, I WAS a little unclear. You've raised some excellent points, here, Ausrock. In general, it IS important to use mics with the smallest diaphragm possible, when attempting this trick. What I actually had in mind when I made the post were those ultra-flat omnis such as the Earthworks, or...

Well, the ability to shift polarity and add filters is NICE, but you can usually do that elsewhere - either on the preamp or recording interface that you're using, or within the software that you've using to record the mic. Not really necessary for what you're doing, just a nice little...

Oh, it DOES work. (And you're welcome.) If you think about where you usually see PZM's being used, you can clearly see why an omni capsule is called for AND you can see the problems that PZM's are intended to fix. The two applications that I see them used for are on the underside of a grand...

They're the same mic? Wow! Is that really true? I didn't know that. But if that's really the case, then that's just AWESOME! :) :) I haven't added an omni pair to my collection, yet, so I just might need to pick up a pair of those. (Although I'll be buying a set of Peluso's very soon...

Or the inside lid of a grand piano, or whatever. . . Yep, that's basically all there is to it. Enjoy your new PZM's dude! ;) Bassman

Nobody ever asks HOW it happens The thing that always gets me is that, when you DO hear that some famous vocalist has recorded a track with an SM57, nobody ever asks HOW it came to be. I'm betting that it usually goes something like this: Recording engineer to assistant engineer: "Hey dude...

Why buy a PZM when there's "the old PZM trick"? Note: Sorry for briefly sidetracking (but hopefully not completely hijacking) this thread, to address a side issue. O.K. This is pretty basic (and ancient) information, so perhaps most of you know this already. Nevertheless, there are people at...

Hey Tony, I apologize for the rather - um - "intense" nature of my reply. I certainly don't want to scare you away from the board by stirring up old battles about rather obscure points (to you, at least) of recording techniques. New people help keep things grounded in reality and, thus, are a...

Well, I don't know about spending "thousands" of dollars just to get a decent piano recording. But, I definitely think "professional" quality mics are called for. Some mics that come to mind would be a pair of Shure SM81s (NOT the el cheapo version you're using now). These are about $400...

More urban mythology with the SM57 Well, everything you just said here is true. However, it's only PART of the truth and it's not the most important part. In fact, this is precisely the sort of half-truth that contributes to all the misleading "urban mythology" that has sprung up around the...

Yeah. That's how I buy all my basses. But, dude, now you've let the secret out! :eek: :o

Welcome, Ken! Always good to have a friendly new face. :) Brad

Yes to ADK I'll second this. In fact, I'd say that just about anything that ADK makes would fit comfortably on the "best bang for the buck" list. Then of course, there is the AT4050 and the KSM44. I realize that these (very similar sounding) mics are quite a bit more money than the others on...

Well, Tony, now you get to see why the SM57 is the best-selling microphone on the planet. Not because it's so good, but because there are lots of people in the world who will make the sorts of outlandish, overhyped statements that you see above. I've heard lots of these kinds of statements...

Well, I certainly understand what you're talking about. You will, indeed, find condenser mics to be much, much more sensitive than a dynamic. Therefore, you will need to modify your approach a bit to do any recording with them. (Chief among these issues is that you will need to learn to be...

The Audio-Technica ATM-25 You need the Audio-Technica ATM-25. $149.95 at American Musical Supply. A VERY solid mic for bass drum and bass guitar cabinets. More neutral in tonal color than the other standard bass instruments mic, the AKG D112. I personally prefer the ATM-25 to the D112, due...

By the way, you DO realize, don't you, that both the RE20 and the SM7 were designed specifically for use in broadcast applications, and are the actual mics used in many radio stations for this very purpose? So, in other words, yeah, either one will certainly work for this application. Brad

I, too, would be inclined to recommend a pair of 421's over a single 441. Not only are there lots of applications where you can use more than one of them (mic'ing floor toms, as guinsu mentioned, would be one example), but also the "mellower" sound of the 421's would provide a nice compliment...

The SM7 would probably be the way to go for this application. You can use the proximity effect of the SM7 to increase the amount of "boominess" to taste. The RE20 doesn't have this proximity effect. Brad

Well, Tony, there certainly ARE mics that will give you good results on both vocals and acoustic guitar. These would be called Large Diaghram Condenser mics (or "LCD's"). This is probably what you need for your recordings. NOT a Shure SM58, or it's near cousin, the SM57. (The only difference...