Under The Hood - Inside the Marshall V67G and the Studio Projects C1

[alanhyatt]

Shailat


I hear what you are saying, and I think everyone would rather drive a Mercedes, as everyone would love to use a Steve Paul mic, but not everyone has the luxury of doing so, and it is not the end all if you don't.

Zekeman said he was impressed by going to Harvey's studio, and seeing the Gold Record on his wall. I have two Gold's, and one Platinium, but does that matter. Maybe Steve Paul has 10 on his wall or more as he is still out there making music, but our opinions and advise are just that. We offer it in hopes it works for you all, but encourage experimentation to make sure you always look for better ways to do things. Don't stop learning.

My opinion is not to discount the high end gear that you, or Steve, or anyone else wants to use. If you feel you are getting better results from it, that is great, but again that is just you, and I am sure many others, yet the majority of users on this group and others are still starting out or in it only a couple of years, and just don't have the budget. When they start making money from their craft, beleive me, they will buy more expensive gear like you do.

I am here to offer anything they want from me. I don't tout my mics, or Steves, or others. They are all good and do the job required by the owners of them for the applications they need to do on the level they are on.

I was just getting tired of all the bashing and trashing on product no one knew anything about, but found comfort in the bashing anyway.

There is a place for all levels of gear. I made a decision to go after the 1st or 2nd time mic buyer, and put my experiences to work for them. I am only trying to get them the best possible sound I can give them for an affordable price. If they like it, fine, if they like something else, fine. I feel I will have created a line of products, and there will be many more products from me, including electronics that hopefully, I can say, I left my mark on the industry, because that to me is more important than the colored records on my wall.

 

[s_paul]

Dude! Has anyone actually listened to SP's stuff? I just clicked on the 1st song I saw(once in a lifetime), and man... I'm impressed at the quality, even the backing vocals are superb. That super detailed vocal sound is EXACTLY what I'm after, that more-than-just-the-voice sound and I'm-sitting-in-the-room with ya sound... its like I can hear throat sounds and lung rattle and all kinds of naturalness in it. Must be those great 1-micron mics.

Thanks tube-dude... I appreciate that someone actually took the time time to discover what my real secret is... I didn't come to CA to build mikes 31 years ago, but to make records...

If you look at the lyric sheets and tech notes, you'll discover I recorded everything on that page with a Fostex G24S 1" 24 track with 499 and mixed through an Allen+Heath CMC32 that I modified.

The entire set of recordings was recorded in my living room... if you go to the photo album that you can get to through that page there are several photos of setups and me conductiong the string section etc...

Point is, yes, the mikes help. Of course. But I was also a pro engineer for many, many years, also chief at Conway, Larrabee, Davlen, Indigo Ranch, etc...

And for several tracks I used a fifty buck Chinese accordion. Couldn't afford a real Cajun one. It isn't about having all the best gear at all. Like I say I started when Columbia was tube Ampex 351 three tracks, the same machines Elvis recorded on at The Annex.

I also wrote the material, engineered, mixed and mastered the stuff, and produced it. IOW I made sure I had total control over my product. The duet on the page (the second song) with Valerie Carter from James Taylor's band went to number one on MP3 as well, and is nothing more than Val and I, my '68 Brazilian rosewood Martin Custom 35, and a string quintet.

I also played (though of course I can no longer) 90% of all the instruments, though I had the great good fortune of having some of the greatest players in the world with me when we played live or had guest spots on the records. That's why I encourage all of you to not only visit the page, but really listen and poke around all the links.

I tried to make a little Disneyland, especially for guys like you, who are trying to find out what makes those records you envy so much tick, and share the info about how to do it, even if you don't have my mikes...

The reason I have to charge so much and I'm still broke is simple. No compromise. =Someone= in the world today still has to do things the old way, and we do. We work at sub-wavelength of light tolerances, etc. Understand that we are the only custom shop in the entire world and have always been, where you can go in and order the mike of your dreams. It's expensive.

Don't you guys think if I could build a mike for three grand I would do it? I can't even make some of the higher-end sub-micron capsules I designed for that. Not and have it be what people expect of me.

That's one reason we do mod mikes like the Marshalls, UM-57s and so on, and I know it's hard to comprehend why the mod costs more than the mike, but the idea is that it becomes something else. It gets you into the big-time still, for a fraction of the cost of a vintage mod. So we do that. Exactly to make it available for those of you that just ain't got the bucks.

But my skills are what make my records. I beg you, listen to them... they may not be your cup of tea in terms of material, but I know you'll find the sound and production and the care I made them with ART, not science. I believe in alchemy, or the blend of art and science that create a third, higher entity that is greater than the sum of its parts.

Read the notes. I shared everything I could think of in them. There are many cuts ranging from power rock ballads to beatle-y stuff to acoustic things, to whatever. Players like David Lindley, Scott Page and the singers I worked with all from my gigs and so on, there for free, because they knew I was broke, but we loved the music. not because they owed me anything.

That's why my mikes are special. Because I won't USE computer lathes. Everything is made by hand, and it costs me a fortune. I haven't been in the black in ten years, while a lot of producers, artists, engineers, studios, and other manufacturers are gettin' fat off of what I did because it had to be done and had all been kept a deep, dark secret until I published the papers in Mix etc. that gave 'em all the blueprints, and now you have these choices.

But. You want a one point five micron on down capsule? You still need to come to us. Why? Because imitation is easy. But to design a twin membrane capsule from the ground up? There's maybe fifteen of us, if that, in the world. I was offered seven figures to sell my company to JBL, and a few other Big Cheeses. But they ddn't want to build the Good Stuff.

My name would have been lost to me, and they would have made junk. I worked too hard gang. And I slept in Washington Square park to do my thing with music, the whole number. Like I say... take the time, click on the 'info' tab on the mp3 page, and you'll see -exactly- why I have the attitude I do. It ain't 'cos I'm greedy, because I could get whatever I wanted for this stuff.

As it is, we have designed our own mike, but you don't wanna know what that's gonna cost, because it's what =I= wanted to build!

Without Harvey's help (bless you Harv!) I wouldn't have the bread to press the new record coming out. That's the way it is. So listen, poke around. You might be amazed at what you find. And you might start to feel that what I do is worth whatever it costs, just as I do, or I wouldn't do it... I'd have sold out and be in a lot better shape, especially because I'd really like to have my hands open again, and at least play slide... though I still bang on a midi key with my thumbs to keep writing.

Maybe that'll help you who wonder, understand why it's about money at all... because it ain't. It just the way it is. But as our great, intellectual President was quoted as saying the other day, "Have no fear, we're working hard for an end to the solution!"

Ahhhhahahahahahahaaaaaaaaaaaaa!

 

[MrZekeMan]

colored records on the wall are pretty nifty too.

They make pretty nice studio decorations.

Zeke

BTW if you haven't listened to any of Steve Pauls stuff yet, do it.
Check out Brand New day.........awesome.

 

[Telefunken]

S_Paul,

Not really my style of music, but the sound quality is excellent, I can tell you have good gear, lots of experiance, and know what your doing. Your guitar playing is great. How long have you been playing? I liked your info on what mics and stuff you used. Can you also tell us what other kinds of gear you have preamps, console, tube gear etc.............? Your one hip an happinin dude. How old are you?
here is an unmastered version of a song I finished awhile ago.
http://artists.mp3s.com/artists/251/rich_bischoff.html

Sounds like you really like female singers singing along with you on your recordings

 

[alanhyatt]

Hey Steve,

Wow, I slept in Washington Square in 1967. I was just signed by Atlantic Records at the time, but was dead broke. Are you from New York as well?

Alan Hyatt
PMI Audio

 

[MrZekeMan]

Zekeman said he was impressed by going to Harvey's studio, and seeing the Gold Record on his wall. I have two Gold's, and one Platinium, but does that matter. Maybe Steve Paul has 10 on his wall..........

.........or hopefully, I can say, I left my mark on the industry, because that to me is more important than the colored records on my wall.

I like this guy.

What is up with all the people saying he's a great salesman? He sucks as a salesman.

I said earlier in this thread that I was gonna buy one of his mics. So does he tip toe around me? Nope. Salesmen are known to be pretty high on the sleazeball scale for their willingness to worship at the altar of phoniness in order to sell people stuff.

There's none of that in Alan. He pisses people off with his brashiness. He says what he thinks. Some people may not like that. I do. I'll take brashiness over phoniness any day.

Taylor

 

[alanhyatt]

Taylor

Thanks for the vote of confidence, I guess its the New York in me that rubs people the wrong way, but I thought I was a good salesman.

 

[Prism]

I like to think Alan is "off-duty" when he's on the BBS...so maybe he IS a great salesman...just not here.

Isaiah

 

[alanhyatt]

Studio Projects C1 Capsules

Ok group, let’s talk about the C1 capsules. You know, the one with the two screws on the back. If you wish to talk about dual capsules, we can do that on another post.

I do not proclaim to be a capsule expert, like Steve Paul, and he is welcome to add anything useful here. I also do not want to cross post this, so if you know anyone that might need to read this, please point them in this direction.

Please remember what I have said to you before, and even Steve said it himself; it is the music, producer, and engineer who can make inexpensive gear and microphones sound great. You can too, if you start with a good inexpensive microphone and other related gear, and learn your craft. Ask us, we will be glad to help you.

So let me tell you why I think the C1 is a good one to start with, and why I believe you will get the consistent quality from a C1. Now that is the first time I have commented on my mics.

The rear diaphragm of the C1 really does nothing to the specification of the capsule, which is a single diaphragm, and gold sputtered to 6 um, which is way thicker than a 2.5 or 3 um, and tons more than a classic Steve Paul mod, but this done with a purpose to get a type of sound that I liked, and thought you all would like as well.

The reason for the plastic rear diaphragm cover on the C1 is really for preventing dust from getting into the front capsule, If you take apart this capsule and take the rear diaphragm away, you will find the C1 will still work well, with little or no changes in the sound. It does not have to be brass and have a bunchof screws. There are many single diaphragm capsules on the market, but the rear of them does not play any significant role in its performance. Dual diaphragms need the rear and other electronics to get the patterns, but a single is just that.

As for the two screws holding the rear diaphragm, it is really a non-issue. All 797 Audio single diaphragm capsules have only two screws on the rear. These two screws are only there to support the rear plastic diaphragm. They are glued on with special materials. They will never come off..well I guess I should never say never, but they will not come off, so all you have to do is attach the porcelain ring to the rear plastic. The rear porcelain is screwed on with two screws so the rear will look like the front. This way when you look in, you will see the white porcelin ring on the front and the rear. It is really cosmetic at best so the two screws are only to hold the ring in place.

You can take apart all the capsules 797audio used in any single pattern microphone if you wish, from the older BPM CR-10, RODE NT1, TCM1100, MXL2003, Marshall V77, CAD CTI (single large diaphragm only), ADK A51, to the new RODE NT1000, and RODE NTK capsules (no center terminal), they all use only two screws in the rear for support, and would all work well without the rear at all.

What I believe is important on the C1 capsule is what is done to assure the quality control of it. What is important is to first control the tension degree of the diaphragm, which is done by placing the diaphragm with a porcelain ring, not a plastic ring into a high temperature oven, (80 C) for about 24 hours. When this is done, the tension degree of the diaphragm should be fixed, and it will not change with temperature or succumb to other moisture conditions. If it is not fixed, you have to start over.

You must control the capacitor between the diaphragm and the back plate, as well as control the sensitivity, and polar pattern. Controlling the pre-amplifier is a critical stage that includes the polarizing voltage, output level, max output, noise and distortion.

When all this is done, you have to ensure the consistency, and the sound of the mic. When a Studio Projects C1 is finished, 797 Audio puts them to work for about 24 hours; we call this "aging" or burn in. After it is aged, it gets a final test, and then it is packed and shipped. We get the microphone in a white Styrofoam container. When we get them, we test them again, put them into the road cases that contain the windscreen and shock mount. Then we put in the manual, warranty card and off it goes.

Believe me, there is a lot of work that goes into making this little inexpensive C1. It is not near what Steve Paul does, and I think Steve should agree as he knows how much work goes into building an expensive capsule, that you can’t expect what Steve does to show up in a $299.00 microphone, but you can by taking extra care to make a pretty darn good $299.00 microphone by doing the extra work we do to make sure the microphone is what it is.

You can have all the screws you want on the rear, and if you look at some of the pictures Harvey Gerst put up, you can see a very thin brass ring that almost looks like a washer, screwed into a plastic ring, not a porcelain ring. My point is there is no consistant tension degree with those capsules as they are made in South China factory and they do not have the equipment to do it like the C1.

I hope this will give you a better idea of why we use only two screws, and make you understand that those screws are not needed, so it is not an inferior capsule...in fact, it is a better one.

But it is what it is folks, and that is a darn good $299.00 mic that is hard pressed to beat. What ever other people say about the mic is what they say. You be the judge.

 

[ausrock]

I spent some time last night reading this thread from beginning to end. I learnt a lot both about mics and what goes into them.

Harvey, I cant wait to see the final results on all 3 mics from Studio Projects.

Alan, oddly enough I haven't seen anything in your posts I could take exception to, only directness and an obvious pride in what you are doing. Keep it up........please.

Recording Engineer, as I am a moderator on a chat site, I think you were generous to say the least in regards to C7sus. If he behaved like that on my turf I would have imposed penalties long before you stepped in......lol.

Peace...........ChrisO.

 

[s_paul]

Forgot about me already eh?

Back from Nashville... was I gonna post something here? Can't remember... yawn...

 

[ausrock]

Steve, you weren't delibrately omitted from my post...........I guess you are that many light years ahead of me with these things I felt it better to quit ranting while the going was good.

Peace .......ChrisO

 

[alanhyatt]

Chris O,

Thanks, and welcome to the thread

 

[MISTERQCUE]

Ok Alan, I have read all the reviews here and my question to you is, Can you use the C1 to mic an acoustic bass and roll off frequencies below 60hz to capture a clean, brite tone and not the
muddy, mid-rangy tone I've heard from most mic'd acoustics??
I plan on purchasing the C1 to add to my small mic arsenal and was wondering if it would be an acceptable mic for this purpose.
Thx
Mr.Q

BTW, what IS the frequency response of this mic!!??

 

[Chris F]

Ok Alan, I have read all the reviews here and my question to you is, Can you use the C1 to mic an acoustic bass and roll off frequencies below 60hz to capture a clean, brite tone and not the
muddy, mid-rangy tone I've heard from most mic'd acoustics??
I plan on purchasing the C1 to add to my small mic arsenal and was wondering if it would be an acceptable mic for this purpose.
Thx
Mr.Q

Hey, that's what I've been trying to figure out! Tell me more about acoustic bass recording - anything you know. I've been looking for a LD condenser for this purpose for a while now. The big question I have is, do I need to get a mic with a roll-off switch, or can I do the roll off externally? If external, what should I try to shape the tone with? (Sorry if this didn't belong in this thread, but this has been driving me crazy since every recording I make involves acoustic bass - and I keep getting those HONKY and MUDDY frequency traps in certain ranges but not others). If anybody has experience with this, please Email or PM me (Harvey has already been very helpful).

Thanks,
Chris

 

[alanhyatt]

Mr. Q and Chris,

The C1 has worked very well in all acoustic situations so far, but I have not done an acoustic bass recently. The C1 would do well as a result of its full sound in the low end for your instrument.

I suggest before you roll off anything below 80hz, you try and record with it flat. My experience, and others I have spoke with seem to agree the C1 is at its best flat.

The frequency response on the C1 is 20~20Kz, and it should not give you any pronounced midrange or honky sound. It has a great proximity so you should get a very clean yet natural sound at a 4 to 6 inch distance.

You may want to try another mic at a distance of three to four feet back in addition to the C1 for some ambiance. You can just use the C1 if your happy with the sound, or try blending both mics in for a thicker effect, and maybe some eq if you need it.

If you want more mid, I might suggest you boost 1 or 2db at 2Kz or 2.5Kz, depending on what sound your looking for.

 

[Dougie Johnson]

Alan:

You said "Honky" to Misterque.
That was cool.

DJ

(Heh-heh-...Heh-heh..)

 

[hixmix]

Dougie Johnson don't know shit.

 

[MISTERQCUE]

Thx Alan!

Dougie, you need therapy!

Hix, you're still o the path of greatness!!

 

[alanhyatt]

Hey Guys,

I am not sure if this is even working, and it is only a very quick demo, but try to download it as the recoding was done with a C1 on a small Mackie console with no added eq. The C1 was absolutely flat.

Go to: http://www.filesanywhere.com and log on using these:
Username: demotech
Password: Pleoni

The Filename is "Wishing In The Wind Mp3"
Its in THE "OPEN THIS ONE" folder on the left side of the page,
highlight the file and and click on download at the top.

It's about 5 megs, encoded @ 160 kbs, so it takes a little time, but might be well worth it as the vocal is pretty good.