Have I missed anybody's questions?

[Harvey Gerst]

I've been down with the flu for the last 3 weeks, so I haven't been checking every thread or my personal mail all that closely.

Is anybody waiting on an answer from me in any of the threads?

Sorry about posting this in a single thread, but I just don't have the time and energy to go back over 3 weeks worth of threads right now.

 

[jet-rocker]

I don't know.

I'm just glad to see you posting again. I learn something every time. Hope you feel better.

The flu sucks.

-Jett

 

[Shazukura]

Sounds like you got hold of the evil Venutian Death-flu, there Harvey. Take care of yourself!

I didn't see a follow-up on the whole SPL / microphone diaprham micronage issue brought up in another thread -- if you have the energy I'd love to hear you elucide the topic some!

-Shaz

 

[Harvey Gerst]

Sounds like you got hold of the evil Venutian Death-flu, there Harvey. Take care of yourself!

I didn't see a follow-up on the whole SPL / microphone diaprham micronage issue brought up in another thread -- if you have the energy I'd love to hear you elucide the topic some!

-Shaz

I think I did cover it pretty thoroughly on the last page of https://homerecording.com/bbs//showthread.php?s=&threadid=42206 - and wound up insulting Alan, inadvertantly.

 

[Michael Jones]

Glad to see you back up and around Harvey. Hope you're feeling better? This year, for the first time, I got the flu shot, and this year, for the first time, I haven't gotten the flu!
You didn't miss this, but I do have a question:
What are the major differences between the RCA 77 and the RCA 77DX? (other than price)

 

[hokypokynose]

No one I've asked here or anyone else knows this. I thought you might:

Why is it doingThis?

 

[Harvey Gerst]

What are the major differences between the RCA 77 and the RCA 77DX? (other than price)

The original RCA 77 (and the 77A and the 77B) were all cardioids with pretty poor response curves and low outputs. The 77C was called a "all purpose mic" and provided more patterns, but again with pretty poor response curves and low output.

The original 77D had low output but better frequency response, and it was the first 77 to be called "high fidelity". The DX is an improved version of the 77D, with even more output and pretty flat response.

 

[Harvey Gerst]

No one I've asked here or anyone else knows this. I thought you might:

Why is it doingThis?

It's probably defective if you plug it into the same cable as a working condenser mic and you don't get any sound. Send it back.

 

[hokypokynose]

It works great with any of the other cables. It's just that one that doesnt work that perplexes me.

 

[Harvey Gerst]

Measure just the cable itself with an ohm meter, between pins 1 and 2, then between pins 1 and 3. Sounds like a short in the cable between one of those sets of pins, which would explain why it works with a dynamic, but not with a condenser.

 

[ChuckU]

Another Satisfied customer

Harvey, I bought a pair of ECM-8000's on your recommendation as well as other satisfied customers. I'm using them as drum overheads and the clarity is amazing (these are my first condensers). I find that they pick up the ENTIRE drum kit. The kick and snare are right there. Is this OK? I mean, do I want to try to eq out the drums (cut the lows on the ECM tracks) a bit so that the close-miced tracks stand on their own more? Welcome back - the bug hit me last week, too!

 

[hokypokynose]

Measure just the cable itself with an ohm meter, between pins 1 and 2, then between pins 1 and 3. Sounds like a short in the cable between one of those sets of pins, which would explain why it works with a dynamic, but not with a condenser.

It works with the other ECM8000 though...

 

[Harvey Gerst]

Re: Another Satisfied customer

Harvey, I bought a pair of ECM-8000's on your recommendation as well as other satisfied customers. I'm using them as drum overheads and the clarity is amazing (these are my first condensers). I find that they pick up the ENTIRE drum kit. The kick and snare are right there. Is this OK? I mean, do I want to try to eq out the drums (cut the lows on the ECM tracks) a bit so that the close-miced tracks stand on their own more?

Hey, if it sounds good, use it that way. If you need more snare and kick definition, roll off some of the bottom on the ECMs. Whatever works and sounds good.

 

[Harvey Gerst]

It works with the other ECM8000 though...

I suspect something in the mic (the one that's flaky) is mis-wired or barely meeting spec. If they sound the same when you listen to both of them, don't worry about it. But if they sound very different, you have a problem with the thinner sounding of the two mics.

Is it just this one mic, thru this one cable, no matter what channel you put it in?

 

[hokypokynose]

I suspect something in the mic (the one that's flaky) is mis-wired or barely meeting spec. If they sound the same when you listen to both of them, don't worry about it. But if they sound very different, you have a problem with the thinner sounding of the two mics.

Is it just this one mic, thru this one cable, no matter what channel you put it in?

Yep. Aint that soooo strange? It sounds like the other one to the letter. It did, come with a different(CHEAPER!) case, and mic clip(the nice clip kind). But the sound is the same. It wasn't manufactured under the Behringer quality controll(the box was different).

 

[DougD]

Yeah.

3 and 1 micing rule? And how does it (if it does at all) relate to omni verses cardiod patterns...

 

[Harvey Gerst]

Re: Yeah.

3 and 1 micing rule? And how does it (if it does at all) relate to omni verses cardiod patterns...

It's called the 3:1 rule, and it's a ratio. It applies to all mics when using more than 1 mic to record a single source. The general idea is to avoid phase cancellations (which creates "comb filtering"), by placing the distant mic at least 3 times further from the source as the close mic.

If you record a guitar with the mic 1 foot away from the guitar, the second mic should be at least 3 feet away from the first mic (4 feet back from the guitar). I've always thought it should be called the 4:1 rule.

Coincident recording (where the mics are right next to each other), doesn't have this problem since the mics are exactly the same distance from a sound source.

Near coincidence spacing (where the mics are separated from each other), and other far stereo miking techniques are also exempt, since they are positioned pretty distant from the sound source.

 

[DougD]

Thanks Harvey.

I thought that would be a good one for the mic thread (which was where I originally posted it.).

In addition -- and thanks for clearing up in my mind that it IS at least 3 times the distance *further* away -- does totally negate the chance for phase cancelllations, or merely reduce them as much as possible given the situation?

 

[cordura21]

drum tuning (sorry, a little OT)?

hi Harvey. In the great polar patterns thread you talked a little about drum tuning, then you said it was better for someone to read the Tuning Bible.
I did it, but I found it a little too detailed. Do you have another good link , or did you write something about it?
I know this is the microphone forum, but I guess drum tuning is often overlooked and it is sure the cause of bad sounding drums for home recorders.

Cheers, Andrés

 

[Harvey Gerst]

Re: Thanks Harvey.

I thought that would be a good one for the mic thread (which was where I originally posted it.).

In addition -- and thanks for clearing up in my mind that it IS at least 3 times the distance *further* away -- does totally negate the chance for phase cancelllations, or merely reduce them as much as possible given the situation?

It reduces it to the point where it's really not much of a problem.