P
prw
New member
Excellent. Keep it coming Harvey!!
prw
Studio in the stix
prw
Studio in the stix
- Status
A
Alexandrah
New member
Harvey, thank you SO MUCH for taking the time to teach us. I am new to the board and to home recording, and I feel enlightened already! 
Reggaesoldier
New member
and to think it all started just 3 short years ago. ...damn!
S
shredspred
New member
Hi Harvey,
I'm new here and I would really like to join your discussion, but I am even more of a beginner than anyone else, I think. I have a question about your above post, in which you explain the "response pattern" of the dynamic mic. Are those drawings abstract representations of the rise and fall of hertz?
I'm new here and I would really like to join your discussion, but I am even more of a beginner than anyone else, I think. I have a question about your above post, in which you explain the "response pattern" of the dynamic mic. Are those drawings abstract representations of the rise and fall of hertz?
H
Harvey Gerst
New member
Sorry, I missed this one. Yes, they do represent an abstract mic, but the response curves aren't all that different from the real thing, and the smoothing is pretty much done the same way that microphone companies do it.shredspred said:
Transducers (anything that changes one form of energy into another form of energy is a transducer) have quirks. Transducers include speakers, microphones, and almost all acoustic instruments, voices, and they all have little quirks in their response. How well the quirks are offset, enhanced, ignored, or complemented, determines whether or not the sound is pleasing. That's why a mic that is terrible on many things will often actually work best for something, like a specific voice, or a particular instrument.
As I pointed out early in this thread, instruments are not the most even note producers, neither is a voice, a microphone, or a speaker. But how well two transducers work together is important. In the case of acoustic transducers, it gets very subjective. As a guitar player, you produce acoustic energy by striking or plucking a string. How you do that is important. Playing harder or softer will change the sound dramatically. Hitting the string close to the bridge will produce a different tone than near the neck.
You have all that control to change your physical energy into an acoustic waveform. Now, you want to change that acoustic energy into electrical energy, using a microphone. The mic choice, pattern, placement, and room response all play a part in determining what will be captured.
It's all a complicated chain of random events and compromises that you're trying to control. Sometimes, it's all a matter of dumb luck, but, if you have a clue about what is actually happening in the entire chain, you can get a lot luckier more times in a row.
H
Harvey Gerst
New member
As an addendum to this whole long thread, I thought I'd add a post that I recently received in my forum from Chris Fitzgerald, the guy who actually started this big thread in the first place:
Harvey,
You might also be interested to know that this engineer recorded the best sound I've ever gotten on my (pizz) double bass, and he used the EXACT mic scheme you suggested to me over at homerecording.com several years ago.
Gee, and it only took 690 posts and two plus years to get it right.
Harvey,
You might also be interested to know that this engineer recorded the best sound I've ever gotten on my (pizz) double bass, and he used the EXACT mic scheme you suggested to me over at homerecording.com several years ago.
Gee, and it only took 690 posts and two plus years to get it right.
Chris F
New member
Hey, better late than never, right? 
H
Harvey Gerst
New member
Wow, 75,000 views!! I think that may be a record for this forum.
W
Wizball
New member
Well, after spending the day reading through it all, the big problem I have now is that I know how much I still don't know...
Thanks a lot Harvey. Now I'll go dig up that ECM8000 thread, as I've been thinking of getting two of those as drum overheads (currently we have el cheapo "Champion Electret Condenser mic" which are so obscure that I can't even find one reference on google). My main concern has been that I "loose" the X/Y possibility if we go the ECM route as we will not have two cardiodids, but that is perhaps not so important.
Thanks a lot Harvey. Now I'll go dig up that ECM8000 thread, as I've been thinking of getting two of those as drum overheads (currently we have el cheapo "Champion Electret Condenser mic" which are so obscure that I can't even find one reference on google). My main concern has been that I "loose" the X/Y possibility if we go the ECM route as we will not have two cardiodids, but that is perhaps not so important.
H
Harvey Gerst
New member
Try spreading the ECM8000's out a bit, so they're pointed at the left crash, and the ride on the right, about 18" to 24" above the cymbals.Wizball said:
crazydoc
Master Baiter
Summary of Harvey's Mic Audition Thread
Thought I'd post this here, so the next time I need to refer to it I'll know where to find it. I wish it would become a separate sticky.
Harvey - you need to get someone to compile the meat of your posts here and publish it as a book. It's getting cumbersome to find this stuff.
_____________________________________________________________
_____________________________________________________________
(12/7/2001)
Harvey Gerst
Excerpted from original thread (12/7/2001):
https://homerecording.com/bbs/showthread.php?t=38175&page=1&pp=25
Give me a few days to come up with some simple tests using headphones, keys, store noises, mixer meters, etc. It will help you find the "best" of the bunch, match a pair of mics (which may not be the best but they'll match), find the loudest, or the most quiet of the bunch.
Interesting challenge - how to test mics in a store without test gear of any kind.
_____________________________________________________________
I have a band coming in in a little while, so I'm gonna hafta do this in sections.
Stuff you'll need to bring with you
One small Post-It Pad (the really small one)
One key ring, with at least 5 to 15 assorted keys on it.
Chromatic tuner with built-in speaker.
A decent set of headphones.
Small note pad.
Culling the herd
Assuming you've become friends with the mic salesman, he's dragged out every unit he has in stock of the same model, including the one on display. You'll need to get the use of a mixer that has phantom power, some kind of metering on it, and a headphone output jack. Let's say you have 12 mics to test. Take the post-it pad and number each mic, 1 thru 12.
Plug the first mic in, and turn on the mixer. Adjust the preamp gain to maximum, and bring up the channel slider till the store's background noise lights up the first 3 or 4 segments of the channel meter (or any meter on the mixer). Note the number of segments showing on the meter and put that number right on the mic's post-it paper. (It will be a number between, let's say 2 and 6.)
Go thru all the mics (without changing any settings) and write down the number of segments that show for each mic on the mic's post-it. As you do this testing, listen to each mic and listen for anything strange (lots of noise, hum, hiss, crackle, weird honking tone, etc.), and note that on your notepad. If you run across any obviously bad mics, remove the post-it paper from that mic and take that mic out of the tests.
As you test them, try to roughly pair up mics (mics that have the same segment readings and sound similar to you), and put those mics together. You should wind up with about 4 piles of mics; those with high segment readings, those with medium segment readings, those with low segment readings, and a pile of defective mics that hum, buzz, crackle, honk, or don't work at all.
Ok, congratulations. You've just completed test one. You've tested all the mics for defects, and measured the mics sensitivity. You've also done some preliminary rough matching.
I'll try to get to the next step (the dreaded "jangling keys" test) a little later today. Hang in there.
______________________________________________________________
It's actually helps the store that sells these cheap mics, since you're going to be doing extra quality control on their behalf. And when you're finished, they'll have some mics they can sell as matched pairs, and some that need to go in for repair (rather than wait for a pissed off customer to return it).
If the salesman is interested enough, you'll actually teach him some things that will help him sell more mics. But you hafta catch them at a really slow point in the day. So the salesman knows that you're gonna be buying at least two mics from him, so he doesn't have anything to lose by playing along.
__________________________________________________________
Okay, Part Two - Now where the hell were we?
Oh yeah. So we have our three good piles of mics and one "to dump" pile. Too bad we don't have more time or we could try switching out capsules to see if that fixes any of them, or testing the weird pile by swapping their capsules with some known good ones (to find any good capsules and/or bodies in the bad pile), but we'll just work with what we have - the 3 "good" piles, sorted by output levels.
The Dreaded "Key Jangle" Test
What's so scary about this? Think of a tamborine at point blank range. Those little keys put out a ton of high frequency energy, enough to overload most mics if you get right up on the mic. And that's what we're gonna do, jangle the keys and listen for any severe distortion in the mic.
Make sure you're not clipping anything in the mixer and leave at least 6 to 10dB of headroom, so you're sure it's coming from just the mic. Start with the keys up close, and jangle.
Keep moving the keys away from the mic till any distortion is gone, and mark down how far away the keys were when the distortion disappeared. That number when converted (we'll talk about that later) tells you the Maximum SPL level for each mic you test. Pretty cool, huh?
Name That Tone
Now it's time to do some serious listening for tonal balance and smoothness in response. We'll use the chromatic tuner you brought with to set all the mics to the same level. Set the tuner to put out A440. If your tuner will play a range of notes, that's even better. Bb (one octave above A440) is around 1,000Hz - a good point to set the levels to.
Put the mic right on the speaker in the tuner and adjust the channel level slider till the signal reads 0 on the meter. Make a note of the dB number (along side the channel slider) on the post-it sheet for that mic, or in your notepad. The whole point here is to match levels as close as possible, so that you're hearing just tonal differences between mics, not volume differences.
Use The Force, Luke
Take a little break and give your ears a rest. I'm gonna take a break right now and I'll be back with the final wrap-up section.
______________________________________________________________
Ok, now we're actually gonna listen to stuff. Remember in the last section, I told you to make a note of the dB number (along side the channel slider) on the post-it sheet for each mic, or in your notepad? Well, here's where we use that number.
Plug in the first mic, and set the channel fader to that number. Adjust the headphone level or the mixer's master level to a comfortable volume and listen to the sound. Listen? Listen to what?
First of all, point the mic into the room, and listen to the room noises in the store, people talking in the distance, the sounds of fans or air conditioning, the ambient room noise. Does it sound different to you than listening without the headphones? What's different about it?
Notice any hollow sounds, like you're in a tunnel? Those sounds are mid range peaks. Any rumbling? You know what that is. Anything sound overly bright and "VERY detailed"? Those are probably high frequency peaks.
Turn the mic around and talk into it from around 12" away, holding it at eye level. Again listen for the same strangeness mentioned above. As you talk bring it in closer to your eyes till it's about 3" away. Did it bring up the bass in your voice nicely or is it kinda boomy? Make notes of your impressions, and go on to the next mic. Remeber to set the channel slider to the appropriate number for each mic, to keep the levels all the same.
After you've done the same tests for each mic, you should wind up with a few mics that sounded very neutral, or pleasing to your ear.
If the dB numbers on the mics are the same on the mics that you like, you have a matched set. If the dB numbers are different, but they sound the same, it's still a matched set, but with different sensitivities - no big deal.
If there are several sets of mics, buy the two with the lowest dB markings, if possible. The lower numbers mean you had to turn those down the most because they were the most sensitive mics.
After you've sorted them into pairs, check the distance number you wrote down for the key jangle test. Chances are that on mics with the same sensitivity, the distances will be about the same. If the written distortion distance of one mic is 1/2 or 2X the written distance of the other mic, that's cool. It means the MAX SPL distortion levels are within 3dB of each other.
If the mixer has a phase reversal switch on each channel (it's a polarity switch really), plug the two mics you like into the mixer and flip the polarity switch on one of the mics. Put the mics side by side and point them at the same spot. With the gain trim control cranked all the way on each channel, turn up one slider till you hear the background noise really loud.
Now bring up the slider on the second channel. As the second slider approaches the same level as the first slider, the sound will start to disappear. If the mics are really matched well, the sound will almost completely disappear at one point. What's left is the slight frequency response differences between the two mics.
As a final check, listen to your choices against the best similar mic in the store and see how close they sound to each other. If you're testing Oktava MC012s, try your chosen set against a Neumann KM184. Listen to the differences. If the Neumann sounds more like one of the sets you passed up buying, you might wanna reconsider your choice. Remeber, you're looking for a mic pair for guitar and misc. stuff, not just voice.
So now, you've matched the mics into mic pairs, and measured them all for sensitivity, frequency response, distortion, and noise - all without any fancy test equipment, or complicated procedures. And you've got the best two of those mics for yourself.
That's about it. Was that easy enough? After a while, you can put on a pair of headphones and just listen to ambient noise and tell a lot about a mic's characteristics, but it takes a bit of practice. Try testing the mics you already own this way and see if your test conclusions match your own personal experience using these mics. The key is to try and avoid any personal biases while testing; keep an open mind and try to listen objectively.
_______________________________________________________________
1. You want to buy a pair of them so just listening to one of their sample mics ain't gonna cut it.
2. Tell them you wanna buy a windscreen that you will use on each mic you test, so that will not cause any "state health regulation" problems, since the windscreen will block any germs.
(It's the same principle as buying new socks to try on different pairs of shoes, or compare it to using a condom, if you get a blank look from the salesman about the socks.)
Good points, Alan.
My main focus on this was trying to find a "pair" of decent Oktava MC012s at Guitar Center, for example. I don't even think they have serial numbers, do they? The same tests would probably be important if I were buying a pair of NT1s or BPMs or any of the "really cheap stuff.
It is very important that you don't try to bug the salesman when the store is packed, or even moderately busy.
We know the GC Oktava deals ain't gonna go away any time soon, so this just gives the buyer a little more ammo in making the best of a bad situation to begin with.
With your mics, and the Marshalls (above the 2001 level), I would have no problem about walking into any store, plunking down the money, and taking whatever unit the guy hands me.
_______________________________________________________________________
Thought I'd post this here, so the next time I need to refer to it I'll know where to find it. I wish it would become a separate sticky.
Harvey - you need to get someone to compile the meat of your posts here and publish it as a book. It's getting cumbersome to find this stuff.
_____________________________________________________________
_____________________________________________________________
(12/7/2001)
Harvey Gerst
Excerpted from original thread (12/7/2001):
https://homerecording.com/bbs/showthread.php?t=38175&page=1&pp=25
Actually, there are some tricks you can do that will get you close to finding the best mics out of a batch, but it would require going into the store when you and the store both have some free time. Asking to test mics in a busy store on a Saturday is NOT a good idea, for example.wheelema said:
Give me a few days to come up with some simple tests using headphones, keys, store noises, mixer meters, etc. It will help you find the "best" of the bunch, match a pair of mics (which may not be the best but they'll match), find the loudest, or the most quiet of the bunch.
Interesting challenge - how to test mics in a store without test gear of any kind.
_____________________________________________________________
I have a band coming in in a little while, so I'm gonna hafta do this in sections.
Stuff you'll need to bring with you
One small Post-It Pad (the really small one)
One key ring, with at least 5 to 15 assorted keys on it.
Chromatic tuner with built-in speaker.
A decent set of headphones.
Small note pad.
Culling the herd
Assuming you've become friends with the mic salesman, he's dragged out every unit he has in stock of the same model, including the one on display. You'll need to get the use of a mixer that has phantom power, some kind of metering on it, and a headphone output jack. Let's say you have 12 mics to test. Take the post-it pad and number each mic, 1 thru 12.
Plug the first mic in, and turn on the mixer. Adjust the preamp gain to maximum, and bring up the channel slider till the store's background noise lights up the first 3 or 4 segments of the channel meter (or any meter on the mixer). Note the number of segments showing on the meter and put that number right on the mic's post-it paper. (It will be a number between, let's say 2 and 6.)
Go thru all the mics (without changing any settings) and write down the number of segments that show for each mic on the mic's post-it. As you do this testing, listen to each mic and listen for anything strange (lots of noise, hum, hiss, crackle, weird honking tone, etc.), and note that on your notepad. If you run across any obviously bad mics, remove the post-it paper from that mic and take that mic out of the tests.
As you test them, try to roughly pair up mics (mics that have the same segment readings and sound similar to you), and put those mics together. You should wind up with about 4 piles of mics; those with high segment readings, those with medium segment readings, those with low segment readings, and a pile of defective mics that hum, buzz, crackle, honk, or don't work at all.
Ok, congratulations. You've just completed test one. You've tested all the mics for defects, and measured the mics sensitivity. You've also done some preliminary rough matching.
I'll try to get to the next step (the dreaded "jangling keys" test) a little later today. Hang in there.
______________________________________________________________
It's not a waste of my time, and you brought up some interesting points. Mainly, this thread is about buying budget mics (that are well known for varying degrees of quality control), but it might also help you spot the best of 3 "high dollar" mics in a more upscale store.mixmkr said:
It's actually helps the store that sells these cheap mics, since you're going to be doing extra quality control on their behalf. And when you're finished, they'll have some mics they can sell as matched pairs, and some that need to go in for repair (rather than wait for a pissed off customer to return it).
If the salesman is interested enough, you'll actually teach him some things that will help him sell more mics. But you hafta catch them at a really slow point in the day. So the salesman knows that you're gonna be buying at least two mics from him, so he doesn't have anything to lose by playing along.
__________________________________________________________
Okay, Part Two - Now where the hell were we?
Oh yeah. So we have our three good piles of mics and one "to dump" pile. Too bad we don't have more time or we could try switching out capsules to see if that fixes any of them, or testing the weird pile by swapping their capsules with some known good ones (to find any good capsules and/or bodies in the bad pile), but we'll just work with what we have - the 3 "good" piles, sorted by output levels.
The Dreaded "Key Jangle" Test
What's so scary about this? Think of a tamborine at point blank range. Those little keys put out a ton of high frequency energy, enough to overload most mics if you get right up on the mic. And that's what we're gonna do, jangle the keys and listen for any severe distortion in the mic.
Make sure you're not clipping anything in the mixer and leave at least 6 to 10dB of headroom, so you're sure it's coming from just the mic. Start with the keys up close, and jangle.
Keep moving the keys away from the mic till any distortion is gone, and mark down how far away the keys were when the distortion disappeared. That number when converted (we'll talk about that later) tells you the Maximum SPL level for each mic you test. Pretty cool, huh?
Name That Tone
Now it's time to do some serious listening for tonal balance and smoothness in response. We'll use the chromatic tuner you brought with to set all the mics to the same level. Set the tuner to put out A440. If your tuner will play a range of notes, that's even better. Bb (one octave above A440) is around 1,000Hz - a good point to set the levels to.
Put the mic right on the speaker in the tuner and adjust the channel level slider till the signal reads 0 on the meter. Make a note of the dB number (along side the channel slider) on the post-it sheet for that mic, or in your notepad. The whole point here is to match levels as close as possible, so that you're hearing just tonal differences between mics, not volume differences.
Use The Force, Luke
Take a little break and give your ears a rest. I'm gonna take a break right now and I'll be back with the final wrap-up section.
______________________________________________________________
Ok, now we're actually gonna listen to stuff. Remember in the last section, I told you to make a note of the dB number (along side the channel slider) on the post-it sheet for each mic, or in your notepad? Well, here's where we use that number.
Plug in the first mic, and set the channel fader to that number. Adjust the headphone level or the mixer's master level to a comfortable volume and listen to the sound. Listen? Listen to what?
First of all, point the mic into the room, and listen to the room noises in the store, people talking in the distance, the sounds of fans or air conditioning, the ambient room noise. Does it sound different to you than listening without the headphones? What's different about it?
Notice any hollow sounds, like you're in a tunnel? Those sounds are mid range peaks. Any rumbling? You know what that is. Anything sound overly bright and "VERY detailed"? Those are probably high frequency peaks.
Turn the mic around and talk into it from around 12" away, holding it at eye level. Again listen for the same strangeness mentioned above. As you talk bring it in closer to your eyes till it's about 3" away. Did it bring up the bass in your voice nicely or is it kinda boomy? Make notes of your impressions, and go on to the next mic. Remeber to set the channel slider to the appropriate number for each mic, to keep the levels all the same.
After you've done the same tests for each mic, you should wind up with a few mics that sounded very neutral, or pleasing to your ear.
If the dB numbers on the mics are the same on the mics that you like, you have a matched set. If the dB numbers are different, but they sound the same, it's still a matched set, but with different sensitivities - no big deal.
If there are several sets of mics, buy the two with the lowest dB markings, if possible. The lower numbers mean you had to turn those down the most because they were the most sensitive mics.
After you've sorted them into pairs, check the distance number you wrote down for the key jangle test. Chances are that on mics with the same sensitivity, the distances will be about the same. If the written distortion distance of one mic is 1/2 or 2X the written distance of the other mic, that's cool. It means the MAX SPL distortion levels are within 3dB of each other.
If the mixer has a phase reversal switch on each channel (it's a polarity switch really), plug the two mics you like into the mixer and flip the polarity switch on one of the mics. Put the mics side by side and point them at the same spot. With the gain trim control cranked all the way on each channel, turn up one slider till you hear the background noise really loud.
Now bring up the slider on the second channel. As the second slider approaches the same level as the first slider, the sound will start to disappear. If the mics are really matched well, the sound will almost completely disappear at one point. What's left is the slight frequency response differences between the two mics.
As a final check, listen to your choices against the best similar mic in the store and see how close they sound to each other. If you're testing Oktava MC012s, try your chosen set against a Neumann KM184. Listen to the differences. If the Neumann sounds more like one of the sets you passed up buying, you might wanna reconsider your choice. Remeber, you're looking for a mic pair for guitar and misc. stuff, not just voice.
So now, you've matched the mics into mic pairs, and measured them all for sensitivity, frequency response, distortion, and noise - all without any fancy test equipment, or complicated procedures. And you've got the best two of those mics for yourself.
That's about it. Was that easy enough? After a while, you can put on a pair of headphones and just listen to ambient noise and tell a lot about a mic's characteristics, but it takes a bit of practice. Try testing the mics you already own this way and see if your test conclusions match your own personal experience using these mics. The key is to try and avoid any personal biases while testing; keep an open mind and try to listen objectively.
_______________________________________________________________
Yeah, tell them:charger said:
1. You want to buy a pair of them so just listening to one of their sample mics ain't gonna cut it.
2. Tell them you wanna buy a windscreen that you will use on each mic you test, so that will not cause any "state health regulation" problems, since the windscreen will block any germs.
(It's the same principle as buying new socks to try on different pairs of shoes, or compare it to using a condom, if you get a blank look from the salesman about the socks.)
alanhyatt said:
Good points, Alan.
My main focus on this was trying to find a "pair" of decent Oktava MC012s at Guitar Center, for example. I don't even think they have serial numbers, do they? The same tests would probably be important if I were buying a pair of NT1s or BPMs or any of the "really cheap stuff.
It is very important that you don't try to bug the salesman when the store is packed, or even moderately busy.
We know the GC Oktava deals ain't gonna go away any time soon, so this just gives the buyer a little more ammo in making the best of a bad situation to begin with.
With your mics, and the Marshalls (above the 2001 level), I would have no problem about walking into any store, plunking down the money, and taking whatever unit the guy hands me.
_______________________________________________________________________
H
Harvey Gerst
New member
Good idea. Here's a thread I participated in, on making your own phantom power supply:
https://homerecording.com/bbs/showthread.php?t=105128
https://homerecording.com/bbs/showthread.php?t=105128
P
protein
New member
My eyes! My eyes!
I'm new to this thread but I had to read the first nine pages. Brilliant stuff. Thanks Harvey.
Unfortunately staring at the screen for so long has induced a kind of hallucinogenic headache so I'm going to lie down for a little while.
urgh!
I'm new to this thread but I had to read the first nine pages. Brilliant stuff. Thanks Harvey.
Unfortunately staring at the screen for so long has induced a kind of hallucinogenic headache so I'm going to lie down for a little while.
urgh!
F
FoxVernon
New member
Awesome Harvey! Thanks a million!
Harvey and everyone,
I just found this thread (as it was recommended by another user at VS Planet).
Very cool! Very helpful! Great stuff.
Thanks for everything Harvey!
-Fox
Harvey and everyone,
I just found this thread (as it was recommended by another user at VS Planet).
Very cool! Very helpful! Great stuff.
Thanks for everything Harvey!
-Fox
B
boingoman
New member
Gadzooks! I need to print this out. Thanks so much to Harvey and everyone.
OneRoomStudios
New member
I know I'm just adding to the heap (at 700 posts now!), but I really wanted to take some time to thank Harvey once again.
It's easy to forget how dificult it is to start out with recording. I remember being in high school and buying a bunch of $20/3-pack mics because I had no idea that there could be such a huge difference in sound/quality between budget mics and high-end mics. I ran everything into a Nady mixer with phantom power because I thought every mic needed phantom power (now I know that none of the mics I was using required it). I close mic'ed everything regardless of what it was or how it sounded, and I recorded everything to stereo mini-disc dry. Now I know a little bit more, but I'll always have more to learn. The information in this thread is invaluable and has taught me more than the stack of recording books that's sitting on my bookshelf. Thank you again Harvey for taking the time to explain the things most of us now take for granted, and making everything so easy to understand. You really should have someone compile this into a book sometime, I think it would be the new go-to book for people starting out in the industry or just learning on their own. It certainly is a great resource for anyone interested in recording.
Thanks!
-Peter
It's easy to forget how dificult it is to start out with recording. I remember being in high school and buying a bunch of $20/3-pack mics because I had no idea that there could be such a huge difference in sound/quality between budget mics and high-end mics. I ran everything into a Nady mixer with phantom power because I thought every mic needed phantom power (now I know that none of the mics I was using required it). I close mic'ed everything regardless of what it was or how it sounded, and I recorded everything to stereo mini-disc dry. Now I know a little bit more, but I'll always have more to learn. The information in this thread is invaluable and has taught me more than the stack of recording books that's sitting on my bookshelf. Thank you again Harvey for taking the time to explain the things most of us now take for granted, and making everything so easy to understand. You really should have someone compile this into a book sometime, I think it would be the new go-to book for people starting out in the industry or just learning on their own. It certainly is a great resource for anyone interested in recording.
Thanks!
-Peter
H
Harvey Gerst
New member
Thank you for your kind words, Peter. I'm glad you found it useful.
The bulk of your praise though, should go to all the wonderful people in this thread that asked so many great questions, which required me to hafta consider all my answers more carefully than normal. And, of course, all the people and websites referenced in this thread.
Yes, it is (or can be) a valuable learning tool for many people, and it contains a lot of useful information not usually found elsewhere.
I'm very proud of my contributions to this thread.
The bulk of your praise though, should go to all the wonderful people in this thread that asked so many great questions, which required me to hafta consider all my answers more carefully than normal. And, of course, all the people and websites referenced in this thread.
Yes, it is (or can be) a valuable learning tool for many people, and it contains a lot of useful information not usually found elsewhere.
I'm very proud of my contributions to this thread.
B
BruceAMiller
New member
Harvey, this is great. Is it true that Emile Berliner (who I think invented the flat turntable) had a hand in inventing the mic?
-Bruce Miller
http://BruceAMiller.us
-Bruce Miller
http://BruceAMiller.us
H
Harvey Gerst
New member
BruceAMiller said:
Hey, Bruce, I'm not THAT old, but yes, Emile invented the carbon mic and sold it to Bell telephone for $50,000. He then went on to invent the flat phonograph record, a helicoptor, and several other great inventions.
BTW, it's great to have you here. You've worked with a few friends of mine: Mack Rabinack, and "Peter, Noel, & Bitchy".
(I did sound for one of their tours a long time ago, when Chip Monk got sick.)And you love U67's - a great sign right off the bat.
I guess our little studio is going big time; we just bought an SSL 4038EG (short-loaded in a 48 frame), and an Otari MTR10 (or MTR12) 2 track for mastering (depending on what happens on ebay). Now we just hafta figure out how to get the damn thing and install it.
Last edited:
- Status