More metal-...

  • Thread starter Thread starter xfinsterx
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Hubbawho said:
I stay away from ribbon mics. From what I've been told, they're extremely expensive and VERY very fragile.
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Ribbons are designed to stretch slightly with no negative effect. A little ribbon fatigue can actually sweeten your mic slightly; besides that, it won't affect the tone or performance of your ribbon at all. If some idiot decides to wrap his lips around your mic and blow as hard as possible, you'll probably end up with an over-stretched or "blown" ribbon. You can tell a ribbon element is kaput if the mic suddenly sounds like garbage and/or loses most of its output.
 
Did a search for "royer ribbon" and woaahh are they expensive! So they are like a condensor rather than a dynamic. Strange to use a condensor as a close mic for guitars. Do you know if a RODE NT2 would work well as a close guitar mic?
 
COOOOOOKKKKIIIIEEEEEEEEEEEEESSSSSSSSSSSSSS !!!!!!!!!!!!!!!! (cookie monster vocals)

sounds great

overall track volume seems soft to me.
 
sounds good, maby the gits are a little to much in the mids, but kinda in a good way.

good stuff
 
ecktronic said:
So they are like a condensor rather than a dynamic. Strange to use a condensor as a close mic for guitars.
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Theyre really neither. A ribbon is its own beast completely. And some more vintage ribbons couldnt withstand a loud amps volume. The royers are made to take it well.

ecktronic said:
Do you know if a RODE NT2 would work well as a close guitar mic?
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No.
But id guess from my experience with them thad it would probably render a bright sound.
 
Is it just me or are the guitar track/s too low on the mix? I think if you take those up a bit the mix will pop out at you a ton more. Everything is recorded well, I just really don't feel anything special or heavy enough. I think the snare fits pretty well, if it were me i wouldn't worry about that 'til I fix the rest of the mix to really give it that extra edge. Maybe listen to some mudvayne before making changes?
 
xfinsterx said:
Theyre really neither. A ribbon is its own beast completely...
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Seems I've read many times here, that ribbons are the shiz-nit when recording dirty-filthy-distorted guit...
 
Cheers Finster. I heard somewhere that NT2s arent that great for close guitars, so might just stay clear of that idea now.
 
emergencyexit said:
Is it just me or are the guitar track/s too low on the mix? I think if you take those up a bit the mix will pop out at you a ton more. Everything is recorded well, I just really don't feel anything special or heavy enough. I think the snare fits pretty well, if it were me i wouldn't worry about that 'til I fix the rest of the mix to really give it that extra edge. Maybe listen to some mudvayne before making changes?
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Because the track aint masterd it doesnt sound as upfront and meaty, but i had a go at mastering it and it sounded fekin awsome and pretty huge and deep.
 
Timothy Lawler said:
And, oddly, classical guitar.

Tim
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And strangely enough...hi-hat. And sax. And bass. And steel acoustic, and, and, and......

-Finster
 
ecktronic said:
Because the track aint masterd it doesnt sound as upfront and meaty, but i had a go at mastering it and it sounded fekin awsome and pretty huge and deep.
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Thats what i was assuming would happen.
But i always let my ME do that stuff.

The band and i are actually going to get it done today.
Ill post a result.
I will not allow a brickwall limiter on the mixes anymore though (such as L2,..)
distorted, dynamicless and unmusical is not what im shooting for.
And i dont give a damn if my mix isnt as loud as Joe blows....

Itll sound better, and itll sound like what i intended it to.....music.


-Finster
 
And strangely enough...hi-hat. And sax. And bass. And steel acoustic, and, and, and......
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The old saying, "To a man with a hammer everything looks like a nail." could be changed to "To a man with a ribbon mic, everything sounds sweet and clear."

BTW Finster, your mixes have sounded, as a rule, awesome. And I mean the word not in it's slang form but its literal one.

Tim
 
Timothy Lawler said:
The old saying, "To a man with a hammer everything looks like a nail." could be changed to "To a man with a ribbon mic, everything sounds sweet and clear."

BTW Finster, your mixes have sounded, as a rule, awesome. And I mean the word not in it's slang form but its literal one.

Tim
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Lol true.
And thanks Tim.

Didnt know you were are N.W.ster BTW.

-Finster
 
Youll have to come down and track a song.
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Thanks, I'd like that. In fact, it'd be helpful to me to learn more about non-classical engineering approaches as I'm doing a large set of Lennon/McCartney arrangements and am nearing the point where I was going to record some of them. But my usual rec methods might be less effective on this music. I'd be very interested in trying various mic's, pre's, placement, processing... that get away from the clean-pure-and-sometimes-too-much-so sound of the GR/schoeps/distant mic'ing approach I'm accustomed to.

How far a drive is it from Seattle to Portland?

Tim
 
Timothy Lawler said:
Thanks, I'd like that. In fact, it'd be helpful to me to learn more about non-classical engineering approaches as I'm doing a large set of Lennon/McCartney arrangements and am nearing the point where I was going to record some of them. But my usual rec methods might be less effective on this music. I'd be very interested in trying various mic's, pre's, placement, processing... that get away from the clean-pure-and-sometimes-too-much-so sound of the GR/schoeps/distant mic'ing approach I'm accustomed to.

How far a drive is it from Seattle to Portland?

Tim
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2 and half, 3 hours.

Lemme know, ill do one song on the house.

xfinsterx@hotmail.com

-Finster
 
xfinsterx said:
Thats what i was assuming would happen.
But i always let my ME do that stuff.

The band and i are actually going to get it done today.
Ill post a result.
I will not allow a brickwall limiter on the mixes anymore though (such as L2,..)
distorted, dynamicless and unmusical is not what im shooting for.
And i dont give a damn if my mix isnt as loud as Joe blows....

Itll sound better, and itll sound like what i intended it to.....music.


-Finster
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I wouldnt totally stop using a brick wall limiter at mastering on your music. The volume would just not be loud enough. Just use the limiter alot less than most people do, so that the distortion is minimal and the dynamics are still there.
Commercial master (average) = -10dB RMS average for loudest parts of song (ie. whole chorus).
Any less than -15dB RMS average will prob be too quiet.
 
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