Berolzheimer wrote on Tue, 02 December 2008 10:57 |
What's the relationship between the 196 and the dc96? |
J.J. Blair wrote on Tue, 02 December 2008 15:10 |
All I know is that the VIP-50 looks like it should be labeled "Norelco." |
maarvold wrote on Tue, 02 December 2008 12:28 | ||
I'm pretty sure the 196's are substantially quieter... maybe a bit flatter too, although I can't remember for sure on that one. |
billiard wrote on Thu, 04 December 2008 16:17 |
Funny thing, the model number sometimes escapes me because I still call these "shavers". |
J.J. Blair wrote on Thu, 11 December 2008 00:54 | ||
It's an MD421. There's actually a Paul Revere and the Raiders performance on Dick Clark or somethig, where Mark Lindsay pretends to shave with one of these.
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mgod wrote on Tue, 27 January 2009 07:26 |
Tim deParavacini used to use the Milab dual rectangular capsule in his mic. He later switched to the Pearl version. Back at Toad Hall in the early 90's we called these Darth Vader's razors. DS |
maarvold wrote on Wed, 28 January 2009 07:48 |
You can hear Tim's mics as the main pickup on many of the Water Lily Acoustics records. I think the one I bought is the one with Ry Cooder. The mics sound very good and extremely smooth and natural to me (like the way real acoustic instruments sound). |
Barry Hufker wrote on Tue, 10 February 2009 11:51 |
Boojum, None of the SLCC tracks on my site use M/S. I recorded their last concert with that but haven't posted anything from it. Now I think of it, there are no M/S recordings at all on my site... Marc Aubort, legendary recording engineer of Elite Recordings (NYC) and a mentor of mine once said M/S stands for "Maybe Stereo". Marc always uses spaced omnis. I like that technique as well but will use what is necessary. Sometimes that's M/S. I don't like M/S for at least two reasons: 1. It is not mono compatible. In monaural, the S signal is canceled out and with it some of the information available in stereo. This is not true of Blumlein or X/Y. 2. It contains no time of arrival information, which I think is vital to the full enjoyment of a performance recorded in stereo. Barry |
Barry Hufker wrote on Tue, 10 February 2009 11:51 |
Marc Aubort, legendary recording engineer of Elite Recordings (NYC) and a mentor of mine once said M/S stands for "Maybe Stereo". Barry |
boojum wrote on Sun, 15 February 2009 23:10 |
However, back to the main point: lack of stereo cues. This has not been my experience when recording with MS. I get very good localization and a good stereo spread. It is adjustable, of course. And I get pretty good ambiance or "air." |
boojum wrote on Sun, 15 February 2009 23:10 |
I think what Barry was saying, and I agree with him, is that ther's a loss of ambience not when listening in stereo but when the L & R are combined to mono- and of course then the side pickup is cancelled out completely and you're left listening only to a hyper-card. |
Barry Hufker wrote on Wed, 18 February 2009 22:17 |
Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them. This is the age of stereo (and for some, surround). That's why I like spaced omni. If we're going to have stereo, then let's really have stereo!! |
Eric H. wrote on Sat, 07 March 2009 08:00 | ||
+1 |
Barry Hufker wrote on Wed, 18 February 2009 16:17 |
Of course one doesn't have to use hypercardioid, but can use any pattern. Mono: I don't worry about mono compatibility (OK I do, but I also don't). If someone is still listening in mono then screw them. This is the age of stereo (and for some, surround). That's why I like spaced omni. If we're going to have stereo, then let's really have stereo!! |
Barry Hufker wrote on Wed, 11 March 2009 11:06 |
"...some of mine has been on the road for almost 40 years and are still in mint condition." I think that sentence says as much about your care towards your gear as it does about the microphones' construction quality. |