DId DOT post this yet??

  • Thread starter Thread starter slobbermonster
  • Start date Start date
That's NOT the point of this little exercise at all. The point is, if you think your recordings sound like ass because of your mic locker, think again.
 
Quite. And there's a lesson there for just about everyone on this forum!!! :)
 
I get the point, but I'm not sure I agree entirely. An expert at anything can take an inferior tool and end up doing a good job with it, not because it isn't an inferior tool, but because they are so skilled that they can overcome the limitations of the inferior tool. For them to then hand that tool to a novice and say "There...see, there's nothing wrong with this tool, you just don't know what you're doing" is wrong. The truth is the tool, in the right hands, is adequate enough to get by with, and in the wrong hands is a serious handicap. Now you can make the argument "learn with this inferior tool and you'll become great", but that's a different argument than "it ain't the tool".

-RD
 
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All I could think was that it was really refreshing to hear a nice song with drums that weren't compressed to sh1t. They actually sounded like a "real" drummer was playing them rather than a machine.

To me, I would rather listen to this tune all day than have to put up with one minute of overly processed garbage (i.e. Ashlee, Brittney, or any of the other "ies" out there that rely 100% on good producers to get them to sound like they have talent) ...and I should note that I don't really care for country at all, so this speaks highly about what this guy was able to do with the "lowly" 57's.

Huzzah! Huzzah!

-mr moon
 
I'm not a big fan of the new country sound either but I am impressed with the recording.

Also, I agree that it sounds like a bunch of of 57's but the point is that he made them work.
 
A really good test would have been to have posted this MP3 in the Mixing Clinic without a description and saw what others had to say about it before they knew it was tracked with 'a bunch of 57's'... :rolleyes:
 
Well, I don't really use the 57 to record things. I keep one around because it is a useful reference mic for somebody who's used to doing live sound reinforcement. If you do bands and you aren't used to the sound of an SM57, there's something seriously wrong with you. It's not that it's that great, it is that it is a convenient standard. You know, if your EQ is kind of tuned to a 57, it will tend to sound good with a variety of other mics. I've been experimenting with small soundstage situations, 20-30 people, using condensers or SM7 at relatively low levels, and having fun with it. The SM57 has been found by me, at least, as a pretty good predictor of what a more sophisticated mix of specialized mics want to hear.
I find the sweet spot with the good cheap stage dynamic, then replace it with a 414 or Kiwi.The detail of the condensers makes it hard for me to find the sweet spot. If I find the sweet spot with say, AKG D770, it will yield a brighter raw mix, and I like that too. I tried calibrating with an SM7, and it was just too damn flat. The SM7 is a lovely mic, but when I need a cheap dynamic, it isn't one. I wonder what e835 eould do?....Richie
 
Richard Monroe said:
Well, I don't really use the 57 to record things. I keep one around because it is a useful reference mic for somebody who's used to doing live sound reinforcement.
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I've never used a 57 for recording either... I have several because my band used to use them for instrument mics in live situations... We're all acoustic by the way...

After hearing a fellow fiddler play through an AT Pro37r and liking it's sound, I bought one and started using it for my fiddle... I bought a matched pair Rode NT5's to record acoustic guitar with and we tried one on acoustic, live, one time and liked it... SO I put the other one on banjo, live... We liked it... So I bought another pair and used them on Mandolin and Dobro... 57's just kinda sit around now...
 
You know, what I dislike most about that recording is the snare sound. It's ironic....

Other than that, it really is quite excellent. Better than most new-country... :)
 
mcolling said:
You know, what I dislike most about that recording is the snare sound. It's ironic....

Other than that, it really is quite excellent. Better than most new-country... :)
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I liked the snare sound.

go figure.
 
I agree..it sounds like a bunch of 57's...The things that sound good are the things that 57's get used for all the time: Drums (althought the overhead and kick 57's are....MUDDY) and electric amps..It will pass on some vox with a better pre but there are better choices even in dynamics (an RE20 comes to mind)....Can you make a pro record at home with a bunch of 57's? No chance...BUT... you can make a pretty good one with some good pre's and judicious placements..

Ray
 
rsolinski said:
I agree..it sounds like a bunch of 57's...The things that sound good are the things that 57's get used for all the time: Drums (althought the overhead and kick 57's are....MUDDY) and electric amps..It will pass on some vox with a better pre but there are better choices even in dynamics (an RE20 comes to mind)....Can you make a pro record at home with a bunch of 57's? No chance...BUT... you can make a pretty good one with some good pre's and judicious placements..

Ray
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I think that the average home recordist would be fairly happy with the quality he got using the 57's on everything. It's not a pro sound, but to me it's not bad at all, considering.
 
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