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 21 
 on: January 14, 2018, 08:04:08 am 
Started by klaus - Last post by Kai
So why use a recording mic as EQ  when we have far more sophisticated dedicated EQ at hand later on? ... better applied and controlled using those tools as  separate steps after the initial recording is made...
The sonic differences between microphones cannot be reduced to a question of EQ or other electrical parameters that can be reproduced or changed later.
This is why proper microphone selection and placement plays such an important role for achieving a good sound.

On the other hand mic selection and placement, combined with EQ, largely enhances the number of choices and possibilities.

E.g. You can use a slightly dark sounding ribbon mic as drum overhead because of it's special accoustic qualities and partner it with EQ for the bit of missing treble - a common practise.

 22 
 on: January 13, 2018, 09:34:12 pm 
Started by vcode - Last post by vcode
This is the original transformer number from my other psu.
BV 49-20 A
Looking for a replacement

 23 
 on: January 13, 2018, 06:05:20 pm 
Started by klaus - Last post by Timtape
I'd ask a different question: "why accept the tradeoffs of manipulating the signal with an EQ when there's already a microphone that sounds how I want it to sound?"

If we're happy with the sound straight off the mic, yes why change it?

But if you're expressing an opinion as to the possible deleterious sonic effects of EQ in general that would seem to be a separate issue deserving of a discussion in its own right.


 24 
 on: January 13, 2018, 01:04:44 pm 
Started by vcode - Last post by vcode
Hi guys.  Curious if klaus or anyone here knows which power transformer model goes into a Neumann nsm23a psu for sm69 mic. Thanks!

 25 
 on: January 13, 2018, 12:40:43 pm 
Started by vcode - Last post by vcode
Was also wondering what thickness mica is used in protective shield for sm69 and km56 Mics. Thanks!

 26 
 on: January 13, 2018, 09:51:10 am 
Started by klaus - Last post by soapfoot

So why use a recording mic as EQ  when we have far more sophisticated dedicated EQ at hand later on?

I'd ask a different question: "why accept the tradeoffs of manipulating the signal with an EQ when there's already a microphone that sounds how I want it to sound?"

 27 
 on: January 13, 2018, 05:27:45 am 
Started by klaus - Last post by Kai
what do you mean by a serious recording here?
For me a "serious" recording is not just connected to the technical aspects, but to the result.
The so-called "audiophile recordings" mentioned had nothing positive in them. Due to the lack of working with the musicians there were a lot of mistakes, the sound was distant and intransparent and so on...
This isn't a musical recording, but just the fulfillment of a philosophy of people usually not in contact with professional audio recording.

Everybody agreed that what I did with those ensembles is worlds apart from what they had before. For one of them the recordings opened the door into a completely different world, making connection with famous acts and musicians. I have had connections with most of these musicians and bands ever since.

 28 
 on: January 13, 2018, 04:04:22 am 
Started by mu90r - Last post by klaus
Nothing about screw holes. You can tell only by looking at a close-up photo of the backplate sandwich: is an aluminum spacer (ca. 40) separating the two backplate halves (= K67/870) or a plastic spacer of the same thickness (= K87)?

If you have the capsule in your physical possession, it's even easier to tell: unscrew one of the four screws that hold the two capsule halves together: if there is a clear plastic sleeve over the threads of the screws, it identifies a K87, if just a plain screw with no sleeve, it's a K67/870.

 29 
 on: January 13, 2018, 02:37:36 am 
Started by mu90r - Last post by vcode
How do you determine a vintage k67 from a k87.  Im always looking at the screw holes and still haven't figured it out.

 30 
 on: January 12, 2018, 10:00:40 pm 
Started by klaus - Last post by Timtape
...So many times I had the practical experience where bands came into my studio that had done recordings in the so called audiophile field, with just a stereo microphone in front of the whole band because someone had the idea that this is "accurate".
These bands where astonished and pleased when they heard, for the first time, how good they could sound on a serious recording...

Hi Kai, just to clarify, what do you mean by a serious recording here?  Do you mean for example many close mics on instruments and later mixed?

Tim


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