Suggestions to help a beginner’s mic locker…

[Grimrunner]

Hi All!

I’m just starting on my journey of building a little home studio. So far, everything has been done on a budget, and I’m patient, so everything I have so far has been found used at ridiculous prices - whenever I’ve seen something that looks to me like a deal, I’ve jumped on it.

For that reason, I haven’t really gone out with a clear vision of what mics to pick up - it’s kind of depended on seeing something cheap.

Before comments suggesting “you should have saved money on x, y and z and just saved up for one W” - I haven’t really had the capital to save up for one or two really decent mics, I’ve built up what I have in a much shorter time than I would have been able to buy even just one or two “decent” mics, and being patient and buying like I have has meant I have had enough mics to start doing some real recordings, which was my goal.

But, all that taken into account, it’s meant my collection has been directed by the wind rather than any concerted plan.

Now I have what I feel has been a decent selection to play around with, I do want to start saving and making some informed choices. So I’d LOVE some advice on where folks think the biggest (quality) gaps are. (I mean, they’re all relatively low quality, but there are some bigger gaps than others I think).

My first thoughts are on looking for some decent dynamics - eg tom mics and a decent kick mic and getting rid of the CAD set. And some more 57’s.

But I’m open to any suggestions for where I might start thinning/stepping up/replacing.

My current mic locker (in no particular order):

Nady TCM-1100 (tube mic) x 1
Shure SM7B x 1
MXL 990/991 x 1 each
Shure SM57 x 1
CAD Drum mic set (7 pieces, SN models) x 7
CAD M-179 x 1
MXL V67G x 3
Samson Q kick x 1
Studio Projects B-1 x 1
Blue blackout spark x 1
Nady RSM-2 (ribbon) x 1
Sterling ST170 (ribbon) x 1
Aston Element x 2
Realistic 33-1070C x 3
Sennheiser e835 x 1
Realistic PZM x 2
AT 3035 x 1
AKG p120 x 1

Thanks in advance for your thoughts ??????

 

[DM60]

I think you need to better understand the room and how it records with different mics, record X (whatever) and play with position to the target, position to the target in the room and truly understand how each mic that you have works. Then, when you get a new mic, you can run the usual tests and determine if it gives you the sound you are looking for or sound you like.

Mics are really about knowing what you want. I can't say I am good at that part, so I just grab something and use it. If it is an amp or loud I use a dynamic, if it is acoustic (soft) or vocal, a condenser. I couldn't say that is a good approach, but that is pretty basic. I do play with the room position.

 

[Grimrunner]

I’m still using outside spaces for anything other than vocal work, so I don’t have a “regular” space that I can use to take into account that dynamic, which is why I’m kind of trying to figure out what to switch out eventually by just going for quality and hoping.

 

[TalismanRich]

You've got a pretty wide range there, SM7B, 57, Senn e835 are all good dynamics. The SP B1s are actually pretty good as well, I have the B3s. The V67G is very workable, I just did some recording with one last week. The CAD M179, AKG P120, and AT 3035 are good. The CAD drum mic set is serviceable, it may not be "high end" but I've got an earlier version with the TSM 411s and they can do a good recording.

While I don't know anything about what type of recordings you are making, but I think you might just be suffering from G.A.S. It's something we all do. But a new mic isn't a magic bullet that's going to make you hit the target every time. (trust me... ?) Unless you have a really good monitoring rig, and know how to set up the recording session, you may not even be able to hear the difference. I have 5 pairs of SDCs, and while they all sound different, they could all make a good recording, especially when you start applying EQ, compression and reverb.

What instruments do you need to record, and what are using on those instruments now? Which ones sound bad to you? Selling a bunch of mics and getting a couple hundred bucks to spend on another mic isn't exactly a great path to success. No single mic is going to cover all bases.

 

[ecc83]

The real nugget that I think Rich has just given is "unless you have a really good monitoring setup..."
I would suggest our new friend has more than enough mics to be going on with and cash is salted away for a monitor upgrade* and room treatment.

So many posts in so many forums are concerned with "the front end". Most often the interface and then mic pre amps. Very rarely are monitors considered but if you cannot hear accurately (and that includes good stereo 'spacial' resolution) what is being recorded how can the qualities of the rest of the chain be assessed?

*We don't know what they are but I am willing to bet they ain't $6000 Neumanns!

Dave.

 

[Papanate]

But I’m open to any suggestions for where I might start thinning/stepping up/replacing.
Thanks in advance for your thoughts

You have a bunch of low grade mics that are passable if you’re very diligent - I would focus your efforts on monitoring.

 

[Grimrunner]

The real nugget that I think Rich has just given is "unless you have a really good monitoring setup..."
I would suggest our new friend has more than enough mics to be going on with and cash is salted away for a monitor upgrade* and room treatment.

So many posts in so many forums are concerned with "the front end". Most often the interface and then mic pre amps. Very rarely are monitors considered but if you cannot hear accurately (and that includes good stereo 'spacial' resolution) what is being recorded how can the qualities of the rest of the chain be assessed?

*We don't know what they are but I am willing to bet they ain't $6000 Neumanns!

Dave.

Jeez, you don’t go easy on a fella! ?

You are correct, I actually only have a pair of Alesis Monitor One MK2’s, that I got for $20.

They’ve sounded ok to me so far - but ok to me at the stage I am at isn’t going to be your “good”, I get it.

I hadn’t actually thought about improving that side of the chain yet, that’s really good advice, I appreciate it.

Any thoughts on some good options for what an upgrade there might be? (Bearing in mind I’m a tight Scot, as my earlier post and this one demonstrates)

 

[ecc83]

Jeez, you don’t go easy on a fella! ?

You are correct, I actually only have a pair of Alesis Monitor One MK2’s, that I got for $20.

They’ve sounded ok to me so far - but ok to me at the stage I am at isn’t going to be your “good”, I get it.

I hadn’t actually thought about improving that side of the chain yet, that’s really good advice, I appreciate it.

Any thoughts on some good options for what an upgrade there might be? (Bearing in mind I’m a tight Scot, as my earlier post and this one demonstrates)

Well! There is no point giving you a soft ride with bad information!
The fact is, monitor speakers are where you have to spend about the most money to get even passing decent results. Yes, there are fabulous and expensive microphones but if you cannot hear ACCURATELY WTF they are picking up...all for naught?
You will read all sorts of ideas about judging sound quality but in fact there is a very easy way that anyone can use. Listen to the thing you are recording! So, if recording speech say, get mate/partner/granny to read a passage from a book, you need about a minute or so. Then listen back. Does that SOUND like that person? Leave the clip running and go out of the room. If you still think it is a person you have some quite decent monitors. Of course, if you can capture a tame guitarist the test is even more critical.

Sound levels: Most people play things back at too high a level and that screws the response*. You can easily find an SPL meter app for your phone and thus check live level then the reproduction.

Of course! There is a whole other side to sound recording where people drone on endlessly about "warmf" and "mojo" and are really trying to turn an original sound into something "better". Fair enough but get basic, accurate repro' done and dusted first IMHO THEN eff about with the 'tones' if you like (but always keep the original recording salted away. Preff' on another drive) .

Monitor prices? Gear from the likes of Adam, Kali start at £330 or so. I doubt you can really get anything remotely decent for much less?

*Look up the "Fletcher-Munson curves" Or as they are now known the "Equal Loudness Contours"
Dave.

 

[Grimrunner]

Well! There is no point giving you a soft ride with bad information!
The fact is, monitor speakers are where you have to spend about the most money to get even passing decent results. Yes, there are fabulous and expensive microphones but if you cannot hear ACCURATELY WTF they are picking up...all for naught?
You will read all sorts of ideas about judging sound quality but in fact there is a very easy way that anyone can use. Listen to the thing you are recording! So, if recording speech say, get mate/partner/granny to read a passage from a book, you need about a minute or so. Then listen back. Does that SOUND like that person? Leave the clip running and go out of the room. If you still think it is a person you have some quite decent monitors. Of course, if you can capture a tame guitarist the test is even more critical.

Sound levels: Most people play things back at too high a level and that screws the response*. You can easily find an SPL meter app for your phone and thus check live level then the reproduction.

Of course! There is a whole other side to sound recording where people drone on endlessly about "warmf" and "mojo" and are really trying to turn an original sound into something "better". Fair enough but get basic, accurate repro' done and dusted first IMHO THEN eff about with the 'tones' if you like (but always keep the original recording salted away. Preff' on another drive) .

Monitor prices? Gear from the likes of Adam, Kali start at £330 or so. I doubt you can really get anything remotely decent for much less?

*Look up the "Fletcher-Munson curves" Or as they are now known the "Equal Loudness Contours"
Dave.

I get it, and this is exactly why I’m asking these questions, I appreciate the input.

It’s funny you mention about using an SPL meter, I just recently downloaded an app and that is on my list of things to do.

As a beginner it’s a fun challenge to figure out where the weak parts are in the chain, and where to look next to make improvements now I have a basic setup.

I really do appreciate all the advice!

 

[ecc83]

Re the SPL app, I hope you found one that allows different "weightings"? For music related work you need a 'C' weighting. "A" is for industrial, motorway noise etc.

Next you have to calibrate it as all phone mics vary in sensitivity. I find you just need to be in the quietest place you can find, early doors when you can hear virtually no noise and set the app to 20dB C and that agrees with a small C meter I have had for some years. The absolute level is not that important, not suing anybody! You will find articles about calibrating monitor speakers and the app will allow you to set consistent levels day to day.

Dave.