A strange little question, I know, prompted by my recent reading of Behind the Glass by Howard Massey...
There's so much discussion here about small differences between various mics, and so many pros talk about the high quality they've produced (particularly 20-30 years ago) with sub-par gear, and I'm trying to gain some context for the many opinions expressed in these threads.
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A QUESTION FOR THE MORE EXPERIENCED AMONG US:
If, on a bet, you had to produce a solid entire-group recording with just one $100 mic (an MXL, SP, SM57, etc.), could you do it? Could you effectively find a way to adapt the single signal for various uses? I'm not interested in which particular mic (we've seen enough bickering about this issue), but more in the general response to the question: could you produce a recording you'd be proud of if limited to just one cheap mic for all instruments and voices?
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Just hypothetically musing,
J.
There's so much discussion here about small differences between various mics, and so many pros talk about the high quality they've produced (particularly 20-30 years ago) with sub-par gear, and I'm trying to gain some context for the many opinions expressed in these threads.
*********************
A QUESTION FOR THE MORE EXPERIENCED AMONG US:
If, on a bet, you had to produce a solid entire-group recording with just one $100 mic (an MXL, SP, SM57, etc.), could you do it? Could you effectively find a way to adapt the single signal for various uses? I'm not interested in which particular mic (we've seen enough bickering about this issue), but more in the general response to the question: could you produce a recording you'd be proud of if limited to just one cheap mic for all instruments and voices?
***********************
Just hypothetically musing,
J.