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 1 
 on: Today at 02:49:46 am 
Started by TermoPlenka - Last post by TermoPlenka
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 2 
 on: Yesterday at 08:31:46 pm 
Started by klaus - Last post by Timtape
Before I responded, I wanted to make sure that you really meant what you wrote. And I can tell you that I know of very very few professional singers who are ignorant about the recording process to the point that they do not care how their voices translate in the studio.

And as you know I clarified my statement :  "...I'm sure the said performers do care very much that the end result is excellent, but not being experts in audio production..."

Most of my clients are so deeply engaged in the recording process, they not only actively select the mic from teh studio's locker, but bring their own vocal mic to the sessions...

Yes perhaps a different world from that of say the 1950's.
Sometimes it seems like nowadays everybody's an expert.


 3 
 on: Yesterday at 02:40:58 pm 
Started by klaus - Last post by klaus
Mike Rivers wrote in another forum the following, which I found interesting, and which I am quoting with his permission:

Distortion is about many things, not just about harmonics of the source coming out than what went in. Most of the difference between source and mic output is a result of mechanical resonances and uneven frequency response. Generally when you see a THD measurement of a mic, it's of the electronics alone, and doesn't include the capsule.

Making high resolution acoustic measurements on a mic is quite difficult. First you need to be able to create a sound wave in air that has an order of magnitude less distortion than the mic you're trying to measure. Then there's contributions from external noise sources that must be dealt with. There's an IEC recommended test setup that a few manufacturers have built that looks a bit like a bomb with electrical connectors.

The AES working group on microphone standards has been trying for years to come up with ways to standardize measurements.

 4 
 on: Yesterday at 02:17:58 pm 
Started by klaus - Last post by klaus
Before I responded, I wanted to make sure that you really meant what you wrote. And I can tell you that I know of very very few professional singers who are ignorant about the recording process to the point that they do not care how their voices translate in the studio.

Most of my clients are so deeply engaged in the recording process, they not only actively select the mic from teh studio's locker, but bring their own vocal mic to the sessions (like you would expect from instrumental performers at any professional level: Itzhak Perlman or Pinchas Zukerman don't go to the local rental shop before hitting the studio).

On a general note:

Internet forums allow all of us to mix it up with the big boys by pretending to be experts, without anyone checking at the door. Reading your many posts in this thread so far, I am curious what practical experience you have in the professional recording world?

What you have shared so far (a lot of wikipedia and other experts' citations) makes me wonder what you do for a living? Where can we hear your recordings? What are your achievements in the recording business? What mics do you use every day?

Expert knowledge is not required for most subjects on this forum. Novices are always welcome, and the level of accomplishments does not matter. But the discussion of accurate mics is not enriched when posting without extensive personal experience.


 5 
 on: Yesterday at 05:27:46 am 
Started by klaus - Last post by Timtape
OK will have another try.
I'm sure the said performers do care very much that the end result is excellent but not being experts in audio production they have to trust that the audio personnel they deal with are experts in their field, will give them sound, reliable advice and aren't taking advantage of the performer's weaker knowledge.


 6 
 on: Yesterday at 03:23:32 am 
Started by klaus - Last post by klaus
A mic that has been "personalized to the sound of my voice" might be very attractive to a performer who knows or cares little more about audio than the microphone they sing into...
What does "cares little more about audio than" mean? Someone who cares little, or who cares more?

Actually, re-reading this sentence in full, I admit, I don't understand at all what you are trying to say.
Can you rephrase please?

 7 
 on: Yesterday at 02:38:11 am 
Started by klaus - Last post by Timtape

Equalization is a useful tool. It is not, however, a panacea, nor is it a substitute for an appropriate mic choice (and placement).
Agreed. But some performers (perhaps especially those unskilled in audio production) seem to wish for the reverse:  a mic that "does it all for me", a mic that is  a panacea or substitute for every production process that takes place downstream of the mic.

A mic that has been "personalised to the sound of my voice" might be very attractive to a performer who  knows or cares little more about audio than the microphone they sing into...


 8 
 on: January 14, 2018, 07:27:32 pm 
Started by klaus - Last post by soapfoot
Brad seemed to imply EQ has such a deleterious effect on the sound that it's best to avoid its use by instead "EQing with the mic".

I certainly regret if I seemed to imply that.

EQ doesn't necessarily have a "deleterious" effect, but it does have a host of effects, some intended, some unintended.

I am certainly unafraid to use an EQ if it's what I want. But it doesn't substitute for choosing the right microphone, in my opinion.

Equalization is a useful tool. It is not, however, a panacea, nor is it a substitute for an appropriate mic choice (and placement).


 9 
 on: January 14, 2018, 03:53:53 pm 
Started by klaus - Last post by klaus
Understood and agreed.

So the summation is still this: in the absence of accurate mics and all other accurate components in the recording chain (don't even get me started on digital processing!), good engineers with good ears and experience choose recording tools that translate their idea of best representation of the music. Whereby "best" could be translated as "most emotionally impactful for the listener in a positive way".

It's quite revealing to realize how few of these recording tools we keep coming back to, regardless of type of music to be recorded. And how universal our esthetic therefore must be.

 10 
 on: January 14, 2018, 01:36:18 pm 
Started by klaus - Last post by Kai
I am not into enlarging the original topic to "what mic works best for what purpose".
This wasn't so much meant as cookbook suggestions, but as examples to bring theoretical ideas, EQ or Non-EQ, postprocessing, back into a practical context with something most of us have experience with.

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