Microphone Reality Check...again

[simpleybass]

Well, it's a recurring problem that we all face in this consumer society.

We get tricked into thinking, "if I buy that new thing I'll be happier."

But surveys have shown that once we get that new product, we usually aren't any happier.

So we move on to another obsession over some other product we think will make us happier.

It's kind of a never-ending process.

I'm no expert, but here's my two cents anyways. If you have decent gear, learn to use it well for various applications. Learn about other cofactors that affect the recording sound (i.e. room acoustics, effects, etc.).

Most of all, work on playing good.

Once we learn to build a set-up that nicely records a performance, the real trick is playing something that's worth recording, and that people would want to listen to.

 

[Richard Monroe]

I think a lot of the ballbusting that goes on about homerec'ers with high end gear is just envy. First of all, I agree that good engineering, a good room, and a good source are usually a lot more important than what mics and pres are used. Good gain staging and mic selection and placement are critical.

However... First, it is just as easy to learn good engineering skills using expensive equipment as it is with cheap gear. Second, it's my money, you can do whatever you want with yours. It so happens that I am blessed with a very good sounding room, and I have had the opportunity to track a few badass musicians with some kickass instruments. So I plug my B.L.U.E. Kiwi into an Avalon AD2022, and it made a *world* of difference from doing the same thing with an Oktava MK319 plugged into a DBX386.

Using a pristine signal chain *will* improve your recorded sound, but only if the other pieces of the puzzle are in place. Yep, my Neumann KM184's into that Avalon (sorry, couldn't afford the Schoeps CM6's) will not help a nasty cymbal. Of course they will make it worse, because they will tell a story that is closer to the truth. So ditch that cymbal.

We started production of my album "Reunion" with a couple of Oktava MC012's, a Studio Projects C-3, and an AKG C200B, plugged into a DBX386.
Littledog, the mixing engineer (old folks here will remember him) listened to the first guide tracks on some Genelecs and said, "you need a better main vocal mic, and a better preamp." He was right. We retracked almost everything, using a Joemeek twinQ and the Avalon, using the Kiwi, an SM7B, a Rode NTK, and an AKG C414. Oddly enough, some cheap mics just stuck around, namely Oktava MC012 and MK319, and AKG C2000B. For most of the female vocals, the MK319 simply delivered. I am certain that the right mic is not necessarily the most expensive one.

So there it is- I *am* using a $2000 mic into a $2500 preamp, and I'm quite satisfied with the results. There are bizzillions of expensive pieces of gear I want, but they will have to wait. From the perspective of the truly big-time, every mic I use is cheap, except the Kiwi. No Brauners, Soundelux, Lawson, Microtech Gefell. My most important target items now are a tube preamp (Pendulum), a badass tube mic (Soundelux/LawsonBrauner) a better compressor (distressor), and a better FX box (high end TC Electronics/Lexicon). But those things will have to wait. Every respectable project studio is an unholy combination of cheap gear that works, and a few pieces of carefully selected top flight gear that is *overworked*.-Richie