P
Paj
Well-known member
All:
A local percussion trio asked me record six live pieces for a demo. I took the opportunity to use every mic that I have an available pair of:
(2) AKG C2000B
(2) Behringer B5 (cardoid capsule)
(2) MXL 991
(2) MXL990
(2) Octava 319
(2) SP-B1 (both “red dots”)
I used Behringer IMP (4580 opamp) preamps because (1) I had at least twelve available and (2) they’re my LDC (lowest common denominator). Used from the insert send on a channel strip or a channel from an ADA8000, the IMP is arguably a linear, low noise, high headroom vanilla preamp with good specs---and again, I have at least twelve of them.
The SDC’s (B5, 990, 991) and the MDC AKG’s were run through the Behringer ADA8000 into a Fostex VF160CD via ADAT lightpipe. The LDC B1's and 319's were sent to the Fostex VF160 from the channel inserts of a Behringer UB2442FX mixer.
All the condenser pairs were set up for ORTF recording except the AKG’s. The SP-B1 ORTF pair was set low, about 1m high; all the other pairs about 1.8m high. The AKG’s were used as a wide stereo pair, set up at the L/R front corners of the performers, facing inward towards the performance center. All mics were generally at least 8-10 feet in front of the performers---no close micing was done. The recording was done at Settlement Music School’s Germantown location in Philly.
African , Japanese, Latin, and Ragtime percussion numbers were performed, with and without a trap set. The trio also performed pieces on three xylophones. The two guys and gal are all degreed percussionists and experienced performers and teachers. It took about 90 minutes of time to move instruments/mics, get levels, swap stories, make jokes, run out for drinks, and record the six pieces.
The leader asked for a preliminary burn of the tracks, so we sat for a while and blended mic pairs for each of the six pieces and burned a CD.
(1) The AKG C2000B and Octava 319 tracks were used in every mix.
(2) The SP-B1 and MXL 991 tracks were used in 2/3 mixes.
(3) The SP-B1 tracks were generally used to add bottom, but often MXL 991 or the Octava 319 tracks didn’t need much or any fattening. The AKG C2000B bass was clean but generally not thick (but they were used off-axis and perimeter), but the AKG’s added clarity and definition in every mix. The trio leader liked the tone added by the Octava 319 tracks (they did seem to make the “wood sound live”).
(4) I just got the Behringer B5 mics. One of them was defective (really low output) and is now in the process of being replaced by 8th Street (take note of that, Zzounds!). The one that worked well didn’t sound bad but, initial impressions, head to head with the MXL 991---the MXL was hotter and rounder sounding. Though, I have to spend more time comparing the tracks.
(5) The MXL 990 was disappointing. Sometimes it sounded awfully midrangey, other times barely to somewhat usable. It wasn’t used on any mixes because, even when usable, it didn’t add anything to the blend that another mic didn’t do better. An odd thing that I noticed about this mic: For the 990, a recorded signal at any level (say, -6 dB) sounded quieter/weaker/thinner than any of the other mics outputting the same level/signal. At this point, this is the last mic I would use for distance micing. It too often reminded me of the tone that you used to get from those built-in condensers in boom-boxes.
OK---before the heat comes back at me, some things to keep in mind:
(A) 4580 opamp preamps. They’re not the boutique, they’re the clinic---and I have no problem with a common point of reference. It just may not be flattering to some mics because they need more than flat.
(B) Pad-preamp-insert out. Nothing fancy. All the judgements were made on the dry, unprocessed tracks and how they blended with each other.
(C) Distance micing. Close micing and placement could/would enhance the performance of any of these mics.
Later,
Paj
8^)
P.S.: We all had a good time.
A local percussion trio asked me record six live pieces for a demo. I took the opportunity to use every mic that I have an available pair of:
(2) AKG C2000B
(2) Behringer B5 (cardoid capsule)
(2) MXL 991
(2) MXL990
(2) Octava 319
(2) SP-B1 (both “red dots”)
I used Behringer IMP (4580 opamp) preamps because (1) I had at least twelve available and (2) they’re my LDC (lowest common denominator). Used from the insert send on a channel strip or a channel from an ADA8000, the IMP is arguably a linear, low noise, high headroom vanilla preamp with good specs---and again, I have at least twelve of them.
The SDC’s (B5, 990, 991) and the MDC AKG’s were run through the Behringer ADA8000 into a Fostex VF160CD via ADAT lightpipe. The LDC B1's and 319's were sent to the Fostex VF160 from the channel inserts of a Behringer UB2442FX mixer.
All the condenser pairs were set up for ORTF recording except the AKG’s. The SP-B1 ORTF pair was set low, about 1m high; all the other pairs about 1.8m high. The AKG’s were used as a wide stereo pair, set up at the L/R front corners of the performers, facing inward towards the performance center. All mics were generally at least 8-10 feet in front of the performers---no close micing was done. The recording was done at Settlement Music School’s Germantown location in Philly.
African , Japanese, Latin, and Ragtime percussion numbers were performed, with and without a trap set. The trio also performed pieces on three xylophones. The two guys and gal are all degreed percussionists and experienced performers and teachers. It took about 90 minutes of time to move instruments/mics, get levels, swap stories, make jokes, run out for drinks, and record the six pieces.
The leader asked for a preliminary burn of the tracks, so we sat for a while and blended mic pairs for each of the six pieces and burned a CD.
(1) The AKG C2000B and Octava 319 tracks were used in every mix.
(2) The SP-B1 and MXL 991 tracks were used in 2/3 mixes.
(3) The SP-B1 tracks were generally used to add bottom, but often MXL 991 or the Octava 319 tracks didn’t need much or any fattening. The AKG C2000B bass was clean but generally not thick (but they were used off-axis and perimeter), but the AKG’s added clarity and definition in every mix. The trio leader liked the tone added by the Octava 319 tracks (they did seem to make the “wood sound live”).
(4) I just got the Behringer B5 mics. One of them was defective (really low output) and is now in the process of being replaced by 8th Street (take note of that, Zzounds!). The one that worked well didn’t sound bad but, initial impressions, head to head with the MXL 991---the MXL was hotter and rounder sounding. Though, I have to spend more time comparing the tracks.
(5) The MXL 990 was disappointing. Sometimes it sounded awfully midrangey, other times barely to somewhat usable. It wasn’t used on any mixes because, even when usable, it didn’t add anything to the blend that another mic didn’t do better. An odd thing that I noticed about this mic: For the 990, a recorded signal at any level (say, -6 dB) sounded quieter/weaker/thinner than any of the other mics outputting the same level/signal. At this point, this is the last mic I would use for distance micing. It too often reminded me of the tone that you used to get from those built-in condensers in boom-boxes.
OK---before the heat comes back at me, some things to keep in mind:
(A) 4580 opamp preamps. They’re not the boutique, they’re the clinic---and I have no problem with a common point of reference. It just may not be flattering to some mics because they need more than flat.
(B) Pad-preamp-insert out. Nothing fancy. All the judgements were made on the dry, unprocessed tracks and how they blended with each other.
(C) Distance micing. Close micing and placement could/would enhance the performance of any of these mics.
Later,
Paj
8^)
P.S.: We all had a good time.