LeeRosario
New member
Well in the old days it was strictly 3 things:
1) Good ribbon and LDCs
2) Good preamps
3) Good rooms
It was pretty usual to mic things pretty far away and in groups (since you didn't have alot of tracks to work with) as opposed to today's "close and personal with a million overdubs" approach.
So if you really want to go vintage, I would try to find a vintage microphone shop and rent either a good ribbon or LCD. I think a vintage Blue Bottle would completely seal your deal (better if you had a great matching preamp).
You can then try what our ansestors did and record with distance (say maybe like 5-15 feet).
In a good sounding and large room (high angled ceilings), that would set the tone very nicely.
If you want to get different colors, I would have woodwinds (reed instruments such as saxophones) record in seperate rooms than brass. This will help you put instruments in thier own interesting spaces respectively.
You would mix it with very minimal processing.
If you want to get new age about it:
Then something like an SM57 or a good solid state LCD would get you started. And as opposed to distant micing, you would hit it up close with as much presence you can get without distorting the mic and the preamp.
I had recently done a flute overdub with an Audio Technica 4040. And although I'm not a big fan of "electrified" wind sounds, it did fit the material very well. A little too harsh on the way in, but that's because the guy was never taught how to play with the mic. A saxophone player that Bob Katz raves about, in his 50s, taking some pointers from a 22 year old. Wow.
The SM57 tends to give a natural punch n crunch, so recording a trumpet with an SM57 would probably be more evasive and "alive" than a ribbon. You probably wouldn't even need any compression if you recorded it through an SM57.
However, I'm secretly sold on vintage for wind and string instruments. Even on grand pianos.
If you feel comfortable and presise with both, you can blend a little bit of new and a little bit of old. Which in that case, I would leave your lead instruments with the electrified sound and have your supporting instruments in the vintage mist.
I learned that from some of the best in the world, so take the advice in stride.
But I think if anything, reading up on the history of it (when you can) will allow you to have a deep understanding on how to achieve your sounds. Both new and old school.
But now that I shared some of my wisdom on you, I want you to tell me a little about the UK to return the favor
. As of right now I'm debating a move to London for work opportunity.
1) Good ribbon and LDCs
2) Good preamps
3) Good rooms
It was pretty usual to mic things pretty far away and in groups (since you didn't have alot of tracks to work with) as opposed to today's "close and personal with a million overdubs" approach.
So if you really want to go vintage, I would try to find a vintage microphone shop and rent either a good ribbon or LCD. I think a vintage Blue Bottle would completely seal your deal (better if you had a great matching preamp).
You can then try what our ansestors did and record with distance (say maybe like 5-15 feet).
In a good sounding and large room (high angled ceilings), that would set the tone very nicely.
If you want to get different colors, I would have woodwinds (reed instruments such as saxophones) record in seperate rooms than brass. This will help you put instruments in thier own interesting spaces respectively.
You would mix it with very minimal processing.
If you want to get new age about it:
Then something like an SM57 or a good solid state LCD would get you started. And as opposed to distant micing, you would hit it up close with as much presence you can get without distorting the mic and the preamp.
I had recently done a flute overdub with an Audio Technica 4040. And although I'm not a big fan of "electrified" wind sounds, it did fit the material very well. A little too harsh on the way in, but that's because the guy was never taught how to play with the mic. A saxophone player that Bob Katz raves about, in his 50s, taking some pointers from a 22 year old. Wow.
The SM57 tends to give a natural punch n crunch, so recording a trumpet with an SM57 would probably be more evasive and "alive" than a ribbon. You probably wouldn't even need any compression if you recorded it through an SM57.
However, I'm secretly sold on vintage for wind and string instruments. Even on grand pianos.
If you feel comfortable and presise with both, you can blend a little bit of new and a little bit of old. Which in that case, I would leave your lead instruments with the electrified sound and have your supporting instruments in the vintage mist.
I learned that from some of the best in the world, so take the advice in stride.
But I think if anything, reading up on the history of it (when you can) will allow you to have a deep understanding on how to achieve your sounds. Both new and old school.
But now that I shared some of my wisdom on you, I want you to tell me a little about the UK to return the favor
. As of right now I'm debating a move to London for work opportunity.
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