wow! they dont suck!

[chessrock]

I understand your take on shootouts in general, and this one specifically. Is there any method of doing a shootout that you think would be a relatively valid test? Or is the fact that virtually all of the variables in any given chain are going to be different from an individual's situation going to be enough to make ANY shootout worthless, IYO?

I just think that one needs to make a very serious effort about giving consistant takes.

And the engineer has to make a very serious effort about matching levels, and making sure that positioning is consistant ... and that the talent is in good position relative to the mic for every single take, no matter how tedious it might get for them and everyone else involved.

Take performance variables and relative position to the mic out of the equation as much as possible, so you're just comparing the mics.
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[Big Kenny]

I just think that one needs to make a very serious effort about giving consistant takes.

And the engineer has to make a very serious effort about matching levels, and making sure that positioning is consistant ... and that the talent is in good position relative to the mic for every single take, no matter how tedious it might get for them and everyone else involved.

Take performance variables and relative position to the mic out of the equation as much as possible, so you're just comparing the mics.
.

That would be ideal if you could guarantee all those "unguaranteeable" variables. Maybe play a prerecorded vocal through a nice dynaudio speaker..but I'm just 'sposin'

 

[notCardio]

Along those lines

what about the kind of test where the same sound clip (vocal or whatever) is repeated through monitors and the various mics record the monitors? Or does this just tell you what those mics would be like used as room mics in that room, since you're taking the actual vocal performance out of it (how a mic responds to breath, plosives, etc?)

I would think a big problem would be the pres, since different mics respond differently to different pres. (i.e. an sm57 might sound totally different in relation to a 421 when going through a Mackie board compared to when they're going through a Great River or whatever.) Not that the difference is between a cheap vs. an expensive pre, just that some pres are better suited for some mics.

I really only pay attention to these things just to see if, and how well, I can tell a difference - more of an ear test, if you will. Since most of the time, I can only listen on computer speakers, it's generally pointless to me.

 

[scrubs]

That would be ideal if you could guarantee all those "unguaranteeable" variables. Maybe play a prerecorded vocal through a nice dynaudio speaker..but I'm just 'sposin'

But what mic is/was used for the prerecorded vocal?

 

[chessrock]

Ah-ha! Didn't think about that one, eh?


No need to go to extremes. Just be mindful of giving conistant takes and getting levels matched. No test will be perfect.

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[notCardio]

Crap!

BK posted his while I was typing mine.

(insert big raspberry sound here)