Overhead Mics - The Delima
Last response: in Home Audio
Archived from groups: rec.audio.pro (More info?)
I need to put together a drum mic set ASAP. And i am foxed by lack of
availability. Most (of the very few) distributers here do not stock.
And order on prepayment only. Which usually takes a lot longer than
promised etc etc..
So for the snare I already have a SM57.
Intend on using SM58's (maybe Beta 58's if i can) on the toms.
For the kik the only thing readily available is the Sennheiser e602. I
read up and i think it's ok.
For the overheads. The only SDC available in the market off the shelf.
AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
Behringer ECM 8000.
I have spent the past hour and a half trying to fing something good
told about the C1000. Not happening. So that is out. I anywaz have not
as of yet heard an AKG (i have not heard much either) that I really
taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
bright (but maybe i just over EQ'd it when i worked with them a while
back)
I also get to work in a studio with the Behringer B2Pro and dont like
it. so i am a bit sceptical of the B5 (it comes bundled with a omni
capsule for cheap).
Surprisingly ppl seem to mention use of the ECM8000 measurement mic
(have read so before also) though since it is omni i might be a little
conserned of getting more room that i like, espessially since i will
not using any great rooms.
So that leaves me with nothing.
If I can, I have the option of waiting through and perhaps being able
to order (while building a bank balance) a pair of sennheisers SDC's
e.g. e614.
However, if push were to come to shove and i need to buy, which is the
better of the bad ???
Also i have read a lotta good bout the Octava 012. Now i was looking
for the home page and am a bit confuced. I have found the following
links :
http://www.oktava.net/
http://sound-room.com/ (also www.oktava.com )
While both companies seem to stock Oktavas, at oktava.net we have the
model MK012 while at Oktava.com (aka sound-room.com) we have the model
MC012 . The mics seem similar.
This passage from the sound room's home page had me particularly
confuced :
"Yes, we know....some large "chain" and "cataolgue sales" stores may
offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
different is the selection process for specific acoustic and
electronic parameters, our own quality control and warranties, our
"cute" cedar boxes and the fact that we sell parts, do service and
even sell accessories for Russian mics - we'll even sell you those
cute cedar boxes for your mic collection! "
Sound room saz they ship worldwide. So this could be a viable option.
I would like these mics to be versatile, acoustic guitars etc
Please Advise.
Thank you.
Sidhu
I need to put together a drum mic set ASAP. And i am foxed by lack of
availability. Most (of the very few) distributers here do not stock.
And order on prepayment only. Which usually takes a lot longer than
promised etc etc..
So for the snare I already have a SM57.
Intend on using SM58's (maybe Beta 58's if i can) on the toms.
For the kik the only thing readily available is the Sennheiser e602. I
read up and i think it's ok.
For the overheads. The only SDC available in the market off the shelf.
AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
Behringer ECM 8000.
I have spent the past hour and a half trying to fing something good
told about the C1000. Not happening. So that is out. I anywaz have not
as of yet heard an AKG (i have not heard much either) that I really
taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
bright (but maybe i just over EQ'd it when i worked with them a while
back)
I also get to work in a studio with the Behringer B2Pro and dont like
it. so i am a bit sceptical of the B5 (it comes bundled with a omni
capsule for cheap).
Surprisingly ppl seem to mention use of the ECM8000 measurement mic
(have read so before also) though since it is omni i might be a little
conserned of getting more room that i like, espessially since i will
not using any great rooms.
So that leaves me with nothing.
If I can, I have the option of waiting through and perhaps being able
to order (while building a bank balance) a pair of sennheisers SDC's
e.g. e614.
However, if push were to come to shove and i need to buy, which is the
better of the bad ???
Also i have read a lotta good bout the Octava 012. Now i was looking
for the home page and am a bit confuced. I have found the following
links :
http://www.oktava.net/
http://sound-room.com/ (also www.oktava.com )
While both companies seem to stock Oktavas, at oktava.net we have the
model MK012 while at Oktava.com (aka sound-room.com) we have the model
MC012 . The mics seem similar.
This passage from the sound room's home page had me particularly
confuced :
"Yes, we know....some large "chain" and "cataolgue sales" stores may
offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
different is the selection process for specific acoustic and
electronic parameters, our own quality control and warranties, our
"cute" cedar boxes and the fact that we sell parts, do service and
even sell accessories for Russian mics - we'll even sell you those
cute cedar boxes for your mic collection! "
Sound room saz they ship worldwide. So this could be a viable option.
I would like these mics to be versatile, acoustic guitars etc
Please Advise.
Thank you.
Sidhu
More about : overhead mics delima
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>I need to put together a drum mic set ASAP. And i am foxed by lack of
>availability. Most (of the very few) distributers here do not stock.
>And order on prepayment only. Which usually takes a lot longer than
>promised etc etc..
>
>So for the snare I already have a SM57.
Okay.
>Intend on using SM58's (maybe Beta 58's if i can) on the toms.
The pattern is wide and they have no top end, but frankly you probably
don't even need to mike the toms.
>For the kik the only thing readily available is the Sennheiser e602. I
>read up and i think it's ok.
Yes, but do you like the way it sounds? I would be very surprised if the
RE-20 wasn't available from a broadcast supply house in Delhi. And there
is always the Sennheiser 421, which is a great mike for other things.
>For the overheads. The only SDC available in the market off the shelf.
>AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
>Behringer ECM 8000.
I don't think I would want any of these in my closet. The overheads are
the most important part of the kit sound and most of your drum sound is
coming through the overheads, so it's definitely worth spending the money
on good overheads.
You can get a good set of overheads and dispense with all the other mikes
if you're trying to cut costs.
>I have spent the past hour and a half trying to fing something good
>told about the C1000. Not happening. So that is out. I anywaz have not
>as of yet heard an AKG (i have not heard much either) that I really
>taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
>bright (but maybe i just over EQ'd it when i worked with them a while
>back)
Which 414? Which 451? The original 451 was a colored but useful mike.
The new 451EB reissue bears no connection at all with the original 451.
The AKG C535 is actually not bad as an overhead in a pinch.
>I also get to work in a studio with the Behringer B2Pro and dont like
>it. so i am a bit sceptical of the B5 (it comes bundled with a omni
>capsule for cheap).
>
>Surprisingly ppl seem to mention use of the ECM8000 measurement mic
>(have read so before also) though since it is omni i might be a little
>conserned of getting more room that i like, espessially since i will
>not using any great rooms.
The key to a great drum sound is a great room. The ECM8000 is the best
mike you will find down in the bargain basement price range. But it is
not a Schoeps by any stretch of the imagination.
>However, if push were to come to shove and i need to buy, which is the
>better of the bad ???
No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would think
with the dollar falling so low that the Josephson mikes would be very
cost-effective there right now.
>Also i have read a lotta good bout the Octava 012. Now i was looking
>for the home page and am a bit confuced. I have found the following
>links :
>
>http://www.oktava.net/
>http://sound-room.com/ (also www.oktava.com )
>
>While both companies seem to stock Oktavas, at oktava.net we have the
>model MK012 while at Oktava.com (aka sound-room.com) we have the model
>MC012 . The mics seem similar.
They are basically the same designs built to different specifications. The
Sound Room mikes are much better controlled and consistent than the ones
that McKay imports.
>This passage from the sound room's home page had me particularly
>confuced :
>
>"Yes, we know....some large "chain" and "cataolgue sales" stores may
>offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
>different is the selection process for specific acoustic and
>electronic parameters, our own quality control and warranties, our
>"cute" cedar boxes and the fact that we sell parts, do service and
>even sell accessories for Russian mics - we'll even sell you those
>cute cedar boxes for your mic collection! "
>
>Sound room saz they ship worldwide. So this could be a viable option.
They are good people, and their mikes are consistent, and they stand behind
what they sell. But you should still listen to anything before you buy it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>I need to put together a drum mic set ASAP. And i am foxed by lack of
>availability. Most (of the very few) distributers here do not stock.
>And order on prepayment only. Which usually takes a lot longer than
>promised etc etc..
>
>So for the snare I already have a SM57.
Okay.
>Intend on using SM58's (maybe Beta 58's if i can) on the toms.
The pattern is wide and they have no top end, but frankly you probably
don't even need to mike the toms.
>For the kik the only thing readily available is the Sennheiser e602. I
>read up and i think it's ok.
Yes, but do you like the way it sounds? I would be very surprised if the
RE-20 wasn't available from a broadcast supply house in Delhi. And there
is always the Sennheiser 421, which is a great mike for other things.
>For the overheads. The only SDC available in the market off the shelf.
>AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
>Behringer ECM 8000.
I don't think I would want any of these in my closet. The overheads are
the most important part of the kit sound and most of your drum sound is
coming through the overheads, so it's definitely worth spending the money
on good overheads.
You can get a good set of overheads and dispense with all the other mikes
if you're trying to cut costs.
>I have spent the past hour and a half trying to fing something good
>told about the C1000. Not happening. So that is out. I anywaz have not
>as of yet heard an AKG (i have not heard much either) that I really
>taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
>bright (but maybe i just over EQ'd it when i worked with them a while
>back)
Which 414? Which 451? The original 451 was a colored but useful mike.
The new 451EB reissue bears no connection at all with the original 451.
The AKG C535 is actually not bad as an overhead in a pinch.
>I also get to work in a studio with the Behringer B2Pro and dont like
>it. so i am a bit sceptical of the B5 (it comes bundled with a omni
>capsule for cheap).
>
>Surprisingly ppl seem to mention use of the ECM8000 measurement mic
>(have read so before also) though since it is omni i might be a little
>conserned of getting more room that i like, espessially since i will
>not using any great rooms.
The key to a great drum sound is a great room. The ECM8000 is the best
mike you will find down in the bargain basement price range. But it is
not a Schoeps by any stretch of the imagination.
>However, if push were to come to shove and i need to buy, which is the
>better of the bad ???
No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would think
with the dollar falling so low that the Josephson mikes would be very
cost-effective there right now.
>Also i have read a lotta good bout the Octava 012. Now i was looking
>for the home page and am a bit confuced. I have found the following
>links :
>
>http://www.oktava.net/
>http://sound-room.com/ (also www.oktava.com )
>
>While both companies seem to stock Oktavas, at oktava.net we have the
>model MK012 while at Oktava.com (aka sound-room.com) we have the model
>MC012 . The mics seem similar.
They are basically the same designs built to different specifications. The
Sound Room mikes are much better controlled and consistent than the ones
that McKay imports.
>This passage from the sound room's home page had me particularly
>confuced :
>
>"Yes, we know....some large "chain" and "cataolgue sales" stores may
>offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
>different is the selection process for specific acoustic and
>electronic parameters, our own quality control and warranties, our
>"cute" cedar boxes and the fact that we sell parts, do service and
>even sell accessories for Russian mics - we'll even sell you those
>cute cedar boxes for your mic collection! "
>
>Sound room saz they ship worldwide. So this could be a viable option.
They are good people, and their mikes are consistent, and they stand behind
what they sell. But you should still listen to anything before you buy it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmmp1$8r4$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >availability. Most (of the very few) distributers here do not stock.
> >And order on prepayment only. Which usually takes a lot longer than
> >promised etc etc..
> >
> >So for the snare I already have a SM57.
>
> Okay.
>
> >Intend on using SM58's (maybe Beta 58's if i can) on the toms.
>
> The pattern is wide and they have no top end, but frankly you probably
> don't even need to mike the toms.
Fair enough.
>
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
The RE-20 Is not affordable for me right now. And neither is the 421.
Maybe i can pik up one 421 II, but then ill have nothing left for
anything else. I have worked with the e602 before and got decent
results. Once i tried AB ing the AKG D12 and the Sennheiser MD421 fof
kik and found the 421 to be thin.
>
> >For the overheads. The only SDC available in the market off the shelf.
> >AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
> >Behringer ECM 8000.
>
> I don't think I would want any of these in my closet. The overheads are
> the most important part of the kit sound and most of your drum sound is
> coming through the overheads, so it's definitely worth spending the money
> on good overheads.
>
> You can get a good set of overheads and dispense with all the other mikes
> if you're trying to cut costs.
Maybe i can get the Studio Projects c4 pair (but i have the feeling
this too will be expensive)
>
> >I have spent the past hour and a half trying to fing something good
> >told about the C1000. Not happening. So that is out. I anywaz have not
> >as of yet heard an AKG (i have not heard much either) that I really
> >taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
> >bright (but maybe i just over EQ'd it when i worked with them a while
> >back)
>
> Which 414? Which 451? The original 451 was a colored but useful mike.
> The new 451EB reissue bears no connection at all with the original 451.
>
> The AKG C535 is actually not bad as an overhead in a pinch.
The 414 B ULS (this teaches me to be thorough. ) and the 451 EB. I
was advised about the 535 on another forum also. Will look into this
today.
>
> >I also get to work in a studio with the Behringer B2Pro and dont like
> >it. so i am a bit sceptical of the B5 (it comes bundled with a omni
> >capsule for cheap).
> >
> >Surprisingly ppl seem to mention use of the ECM8000 measurement mic
> >(have read so before also) though since it is omni i might be a little
> >conserned of getting more room that i like, espessially since i will
> >not using any great rooms.
>
> The key to a great drum sound is a great room. The ECM8000 is the best
> mike you will find down in the bargain basement price range. But it is
> not a Schoeps by any stretch of the imagination.
OK and the omni pattern should not be a bother?
>
> >However, if push were to come to shove and i need to buy, which is the
> >better of the bad ???
>
> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would think
> with the dollar falling so low that the Josephson mikes would be very
> cost-effective there right now.
None.
>
> >Also i have read a lotta good bout the Octava 012. Now i was looking
> >for the home page and am a bit confuced. I have found the following
> >links :
> >
> >http://www.oktava.net/
> >http://sound-room.com/ (also www.oktava.com )
> >
> >While both companies seem to stock Oktavas, at oktava.net we have the
> >model MK012 while at Oktava.com (aka sound-room.com) we have the model
> >MC012 . The mics seem similar.
>
> They are basically the same designs built to different specifications. The
> Sound Room mikes are much better controlled and consistent than the ones
> that McKay imports.
>
> >This passage from the sound room's home page had me particularly
> >confuced :
> >
> >"Yes, we know....some large "chain" and "cataolgue sales" stores may
> >offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
> >different is the selection process for specific acoustic and
> >electronic parameters, our own quality control and warranties, our
> >"cute" cedar boxes and the fact that we sell parts, do service and
> >even sell accessories for Russian mics - we'll even sell you those
> >cute cedar boxes for your mic collection! "
> >
> >Sound room saz they ship worldwide. So this could be a viable option.
>
> They are good people, and their mikes are consistent, and they stand behind
> what they sell. But you should still listen to anything before you buy it.
Very unfortunately. Very rarely a possiblility here.
> --scott
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmmp1$8r4$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >availability. Most (of the very few) distributers here do not stock.
> >And order on prepayment only. Which usually takes a lot longer than
> >promised etc etc..
> >
> >So for the snare I already have a SM57.
>
> Okay.
>
> >Intend on using SM58's (maybe Beta 58's if i can) on the toms.
>
> The pattern is wide and they have no top end, but frankly you probably
> don't even need to mike the toms.
Fair enough.
>
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
The RE-20 Is not affordable for me right now. And neither is the 421.
Maybe i can pik up one 421 II, but then ill have nothing left for
anything else. I have worked with the e602 before and got decent
results. Once i tried AB ing the AKG D12 and the Sennheiser MD421 fof
kik and found the 421 to be thin.
>
> >For the overheads. The only SDC available in the market off the shelf.
> >AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
> >Behringer ECM 8000.
>
> I don't think I would want any of these in my closet. The overheads are
> the most important part of the kit sound and most of your drum sound is
> coming through the overheads, so it's definitely worth spending the money
> on good overheads.
>
> You can get a good set of overheads and dispense with all the other mikes
> if you're trying to cut costs.
Maybe i can get the Studio Projects c4 pair (but i have the feeling
this too will be expensive)
>
> >I have spent the past hour and a half trying to fing something good
> >told about the C1000. Not happening. So that is out. I anywaz have not
> >as of yet heard an AKG (i have not heard much either) that I really
> >taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
> >bright (but maybe i just over EQ'd it when i worked with them a while
> >back)
>
> Which 414? Which 451? The original 451 was a colored but useful mike.
> The new 451EB reissue bears no connection at all with the original 451.
>
> The AKG C535 is actually not bad as an overhead in a pinch.
The 414 B ULS (this teaches me to be thorough. ) and the 451 EB. I
was advised about the 535 on another forum also. Will look into this
today.
>
> >I also get to work in a studio with the Behringer B2Pro and dont like
> >it. so i am a bit sceptical of the B5 (it comes bundled with a omni
> >capsule for cheap).
> >
> >Surprisingly ppl seem to mention use of the ECM8000 measurement mic
> >(have read so before also) though since it is omni i might be a little
> >conserned of getting more room that i like, espessially since i will
> >not using any great rooms.
>
> The key to a great drum sound is a great room. The ECM8000 is the best
> mike you will find down in the bargain basement price range. But it is
> not a Schoeps by any stretch of the imagination.
OK and the omni pattern should not be a bother?
>
> >However, if push were to come to shove and i need to buy, which is the
> >better of the bad ???
>
> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would think
> with the dollar falling so low that the Josephson mikes would be very
> cost-effective there right now.
None.
>
> >Also i have read a lotta good bout the Octava 012. Now i was looking
> >for the home page and am a bit confuced. I have found the following
> >links :
> >
> >http://www.oktava.net/
> >http://sound-room.com/ (also www.oktava.com )
> >
> >While both companies seem to stock Oktavas, at oktava.net we have the
> >model MK012 while at Oktava.com (aka sound-room.com) we have the model
> >MC012 . The mics seem similar.
>
> They are basically the same designs built to different specifications. The
> Sound Room mikes are much better controlled and consistent than the ones
> that McKay imports.
>
> >This passage from the sound room's home page had me particularly
> >confuced :
> >
> >"Yes, we know....some large "chain" and "cataolgue sales" stores may
> >offer "OKTAVA" microphones. What makes our RTT/OKTAVA microphones
> >different is the selection process for specific acoustic and
> >electronic parameters, our own quality control and warranties, our
> >"cute" cedar boxes and the fact that we sell parts, do service and
> >even sell accessories for Russian mics - we'll even sell you those
> >cute cedar boxes for your mic collection! "
> >
> >Sound room saz they ship worldwide. So this could be a viable option.
>
> They are good people, and their mikes are consistent, and they stand behind
> what they sell. But you should still listen to anything before you buy it.
Very unfortunately. Very rarely a possiblility here.
> --scott
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmmp1$8r4$1@panix2.panix.com>...
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
> --scott
Well, Be surprised. it isnt "readily" available.![:(]( ":(")
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmmp1$8r4$1@panix2.panix.com>...
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
> --scott
Well, Be surprised. it isnt "readily" available.
Related ressources
- How to hang overhead mics for choirs - Forum
- Overhead 's for "rock" drums - Forum
- Blocking an overhead condenser? - Forum
- Drums: two mics , two tracks - Forum
- cheap s.d. condenser mics compared? - Forum
Archived from groups: rec.audio.pro (More info?)
> nitinsidhu@indiatimes.com (Sidhu)
>I need to put together a drum mic set ASAP. And i am foxed by lack of
>availability. Most (of the very few) distributers here do not stock.
>And order on prepayment only. Which usually takes a lot longer than
>promised etc etc..
>
>So for the snare I already have a SM57.
Ok.
>Intend on using SM58's (maybe Beta 58's if i can) on the toms.
Well I would try SM57's instead. They are a bit more forward sounding I
think, even though they use the same capsule as the 57. But a few Sennheiser
MD421's would be better, and you can use them for a lot of other things too,
horns, guitar amps...
>For the kik the only thing readily available is the Sennheiser e602. I
>read up and i think it's ok.
I love the E602, it is very forgiving as far as where you place it so it's
much quicker in my experience to get a good kick sound than maybe with a D12 or
D112.
>For the overheads. The only SDC available in the market off the shelf.
>AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
>Behringer ECM 8000.
>I have spent the past hour and a half trying to fing something good
>told about the C1000. Not happening. So that is out. I anywaz have not
>as of yet heard an AKG (i have not heard much either) that I really
>taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
>bright (but maybe i just over EQ'd it when i worked with them a while
>back)
>
>I also get to work in a studio with the Behringer B2Pro and dont like
>it. so i am a bit sceptical of the B5 (it comes bundled with a omni
>capsule for cheap).
>
>Surprisingly ppl seem to mention use of the ECM8000 measurement mic
>(have read so before also) though since it is omni i might be a little
>conserned of getting more room that i like, espessially since i will
>not using any great rooms.
>So that leaves me with nothing.
414's sound decent at a distance, and harsh when you place them too
close. Give them a lot of air and mic the whole kit rather than just the
cymbals with them.
When I use omnis (like the ECM8000's) as drum overheads, I assume I am
going for a close miced drum kit sound and place the omnis more as cymbal mics.
I don't place them the way I would if I were trying to get the whole kit in
the overheads, like the Glyn John's type of minimalist 3 mics on the kit setup.
They are pretty good mics for loud sources, and if they are what is available
they are cheap enough.
>Now i was looking
>for the home page and am a bit confuced. I have found the following
>links :
>
>http://www.oktava.net/
>http://sound-room.com/ (also www.oktava.com )
>
>While both companies seem to stock Oktavas, at oktava.net we have the
>model MK012 while at Oktava.com (aka sound-room.com) we have the model
>MC012 . The mics seem similar.
Same mics, I like them, I think they have a "vintage" color. You pay a bit
more for quality control as far as matching pairs at Sound room, but it's worth
it in my estimation. On the other hand you could buy a pair of used Neumann
KM184's on ebay for around $900. or cheap pair of Marshall Electronics MXL603's
for $100 each at http://www.8thstreet.com.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
> nitinsidhu@indiatimes.com (Sidhu)
>I need to put together a drum mic set ASAP. And i am foxed by lack of
>availability. Most (of the very few) distributers here do not stock.
>And order on prepayment only. Which usually takes a lot longer than
>promised etc etc..
>
>So for the snare I already have a SM57.
Ok.
>Intend on using SM58's (maybe Beta 58's if i can) on the toms.
Well I would try SM57's instead. They are a bit more forward sounding I
think, even though they use the same capsule as the 57. But a few Sennheiser
MD421's would be better, and you can use them for a lot of other things too,
horns, guitar amps...
>For the kik the only thing readily available is the Sennheiser e602. I
>read up and i think it's ok.
I love the E602, it is very forgiving as far as where you place it so it's
much quicker in my experience to get a good kick sound than maybe with a D12 or
D112.
>For the overheads. The only SDC available in the market off the shelf.
>AKG C1000, Behringer B5, mayby the 451 (too expensive) and maybe the
>Behringer ECM 8000.
>I have spent the past hour and a half trying to fing something good
>told about the C1000. Not happening. So that is out. I anywaz have not
>as of yet heard an AKG (i have not heard much either) that I really
>taken a liking too. The 414 i found to be a bit harsh. The 451 a bit
>bright (but maybe i just over EQ'd it when i worked with them a while
>back)
>
>I also get to work in a studio with the Behringer B2Pro and dont like
>it. so i am a bit sceptical of the B5 (it comes bundled with a omni
>capsule for cheap).
>
>Surprisingly ppl seem to mention use of the ECM8000 measurement mic
>(have read so before also) though since it is omni i might be a little
>conserned of getting more room that i like, espessially since i will
>not using any great rooms.
>So that leaves me with nothing.
414's sound decent at a distance, and harsh when you place them too
close. Give them a lot of air and mic the whole kit rather than just the
cymbals with them.
When I use omnis (like the ECM8000's) as drum overheads, I assume I am
going for a close miced drum kit sound and place the omnis more as cymbal mics.
I don't place them the way I would if I were trying to get the whole kit in
the overheads, like the Glyn John's type of minimalist 3 mics on the kit setup.
They are pretty good mics for loud sources, and if they are what is available
they are cheap enough.
>Now i was looking
>for the home page and am a bit confuced. I have found the following
>links :
>
>http://www.oktava.net/
>http://sound-room.com/ (also www.oktava.com )
>
>While both companies seem to stock Oktavas, at oktava.net we have the
>model MK012 while at Oktava.com (aka sound-room.com) we have the model
>MC012 . The mics seem similar.
Same mics, I like them, I think they have a "vintage" color. You pay a bit
more for quality control as far as matching pairs at Sound room, but it's worth
it in my estimation. On the other hand you could buy a pair of used Neumann
KM184's on ebay for around $900. or cheap pair of Marshall Electronics MXL603's
for $100 each at http://www.8thstreet.com.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
Archived from groups: rec.audio.pro (More info?)
"Scott Dorsey" <kludge@panix.com> wrote in message
news:ckmmp1$8r4$1@panix2.panix.com...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >availability. Most (of the very few) distributers here do not stock.
> >And order on prepayment only. Which usually takes a lot longer than
> >promised etc etc..
>
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
The MD421 would cost at least double and the RE-20 at least four times what
he'd have to pay for the e602. I've been in a situation like his and know
that it's a major concern. And he hasn't sorted the overhead mics problem
yet. He'll have to like the e602.
> >However, if push were to come to shove and i need to buy, which is the
> >better of the bad ???
>
> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
think
> with the dollar falling so low that the Josephson mikes would be very
> cost-effective there right now.
The AKG C451 is already out of his budget. The dollar should keep falling if
the Josephsons are to become affordable. It stopped falling too soon, if you
ask me.
> >Sound room saz they ship worldwide. So this could be a viable option.
>
> They are good people, and their mikes are consistent, and they stand
behind
> what they sell. But you should still listen to anything before you buy
it.
But if you have no way of listening before you buy and the budget is tight
and the job needs to be done (and again, I know very well what it's like),
go with the Oktavas, especially the Sound Room ones. If you can get them on
time, that is.
Predrag
"Scott Dorsey" <kludge@panix.com> wrote in message
news:ckmmp1$8r4$1@panix2.panix.com...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >availability. Most (of the very few) distributers here do not stock.
> >And order on prepayment only. Which usually takes a lot longer than
> >promised etc etc..
>
> >For the kik the only thing readily available is the Sennheiser e602. I
> >read up and i think it's ok.
>
> Yes, but do you like the way it sounds? I would be very surprised if the
> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> is always the Sennheiser 421, which is a great mike for other things.
The MD421 would cost at least double and the RE-20 at least four times what
he'd have to pay for the e602. I've been in a situation like his and know
that it's a major concern. And he hasn't sorted the overhead mics problem
yet. He'll have to like the e602.
> >However, if push were to come to shove and i need to buy, which is the
> >better of the bad ???
>
> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
think
> with the dollar falling so low that the Josephson mikes would be very
> cost-effective there right now.
The AKG C451 is already out of his budget. The dollar should keep falling if
the Josephsons are to become affordable. It stopped falling too soon, if you
ask me.
> >Sound room saz they ship worldwide. So this could be a viable option.
>
> They are good people, and their mikes are consistent, and they stand
behind
> what they sell. But you should still listen to anything before you buy
it.
But if you have no way of listening before you buy and the budget is tight
and the job needs to be done (and again, I know very well what it's like),
go with the Oktavas, especially the Sound Room ones. If you can get them on
time, that is.
Predrag
Archived from groups: rec.audio.pro (More info?)
Predrag Trpkov <predrag.trpkovNOSPAM@ri.htnet.hr> wrote:
>"Scott Dorsey" <kludge@panix.com> wrote in message
>news:ckmmp1$8r4$1@panix2.panix.com...
>> Sidhu <nitinsidhu@indiatimes.com> wrote:
>> >I need to put together a drum mic set ASAP. And i am foxed by lack of
>> >availability. Most (of the very few) distributers here do not stock.
>> >And order on prepayment only. Which usually takes a lot longer than
>> >promised etc etc..
>
>> >For the kik the only thing readily available is the Sennheiser e602. I
>> >read up and i think it's ok.
>>
>> Yes, but do you like the way it sounds? I would be very surprised if the
>> RE-20 wasn't available from a broadcast supply house in Delhi. And there
>> is always the Sennheiser 421, which is a great mike for other things.
>
>The MD421 would cost at least double and the RE-20 at least four times what
>he'd have to pay for the e602. I've been in a situation like his and know
>that it's a major concern. And he hasn't sorted the overhead mics problem
>yet. He'll have to like the e602.
Yes, but they're also useful for other things. You get the 421 and you
have a nice kick drum mike, but also a nice vocal mike and a nice guitar
mike. You get the e602 and it's a perfectly respectable kick mike but not
very versatile.
I think the key to getting good sound on a budget is to get quality gear
that can do as many things as possible. That's why I am really gung-ho
about a good small diaphragm condenser.
>> >However, if push were to come to shove and i need to buy, which is the
>> >better of the bad ???
>>
>> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
>think
>> with the dollar falling so low that the Josephson mikes would be very
>> cost-effective there right now.
>
>The AKG C451 is already out of his budget. The dollar should keep falling if
>the Josephsons are to become affordable. It stopped falling too soon, if you
>ask me.
I'd take one Josephson over two AKG C451s, personally. One good mono overhead
beats out two poorer ones in stereo.
>> >Sound room saz they ship worldwide. So this could be a viable option.
>>
>> They are good people, and their mikes are consistent, and they stand
>behind
>> what they sell. But you should still listen to anything before you buy
>it.
>
>But if you have no way of listening before you buy and the budget is tight
>and the job needs to be done (and again, I know very well what it's like),
>go with the Oktavas, especially the Sound Room ones. If you can get them on
>time, that is.
Take a train to Delhi and spend fifty bucks for a few hours at a studio
checking out their microphone cabinet! It's worth the money for the education.
A lot of studios will give you a huge break on the hourly rate for this sort
of thing if you want to come in during an otherwise open time.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Predrag Trpkov <predrag.trpkovNOSPAM@ri.htnet.hr> wrote:
>"Scott Dorsey" <kludge@panix.com> wrote in message
>news:ckmmp1$8r4$1@panix2.panix.com...
>> Sidhu <nitinsidhu@indiatimes.com> wrote:
>> >I need to put together a drum mic set ASAP. And i am foxed by lack of
>> >availability. Most (of the very few) distributers here do not stock.
>> >And order on prepayment only. Which usually takes a lot longer than
>> >promised etc etc..
>
>> >For the kik the only thing readily available is the Sennheiser e602. I
>> >read up and i think it's ok.
>>
>> Yes, but do you like the way it sounds? I would be very surprised if the
>> RE-20 wasn't available from a broadcast supply house in Delhi. And there
>> is always the Sennheiser 421, which is a great mike for other things.
>
>The MD421 would cost at least double and the RE-20 at least four times what
>he'd have to pay for the e602. I've been in a situation like his and know
>that it's a major concern. And he hasn't sorted the overhead mics problem
>yet. He'll have to like the e602.
Yes, but they're also useful for other things. You get the 421 and you
have a nice kick drum mike, but also a nice vocal mike and a nice guitar
mike. You get the e602 and it's a perfectly respectable kick mike but not
very versatile.
I think the key to getting good sound on a budget is to get quality gear
that can do as many things as possible. That's why I am really gung-ho
about a good small diaphragm condenser.
>> >However, if push were to come to shove and i need to buy, which is the
>> >better of the bad ???
>>
>> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
>think
>> with the dollar falling so low that the Josephson mikes would be very
>> cost-effective there right now.
>
>The AKG C451 is already out of his budget. The dollar should keep falling if
>the Josephsons are to become affordable. It stopped falling too soon, if you
>ask me.
I'd take one Josephson over two AKG C451s, personally. One good mono overhead
beats out two poorer ones in stereo.
>> >Sound room saz they ship worldwide. So this could be a viable option.
>>
>> They are good people, and their mikes are consistent, and they stand
>behind
>> what they sell. But you should still listen to anything before you buy
>it.
>
>But if you have no way of listening before you buy and the budget is tight
>and the job needs to be done (and again, I know very well what it's like),
>go with the Oktavas, especially the Sound Room ones. If you can get them on
>time, that is.
Take a train to Delhi and spend fifty bucks for a few hours at a studio
checking out their microphone cabinet! It's worth the money for the education.
A lot of studios will give you a huge break on the hourly rate for this sort
of thing if you want to come in during an otherwise open time.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmt9b$dr7$1@panix2.panix.com>...
> Predrag Trpkov <predrag.trpkovNOSPAM@ri.htnet.hr> wrote:
> >"Scott Dorsey" <kludge@panix.com> wrote in message
> >news:ckmmp1$8r4$1@panix2.panix.com...
> >> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >> >availability. Most (of the very few) distributers here do not stock.
> >> >And order on prepayment only. Which usually takes a lot longer than
> >> >promised etc etc..
>
> >> >For the kik the only thing readily available is the Sennheiser e602. I
> >> >read up and i think it's ok.
> >>
> >> Yes, but do you like the way it sounds? I would be very surprised if the
> >> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> >> is always the Sennheiser 421, which is a great mike for other things.
> >
> >The MD421 would cost at least double and the RE-20 at least four times what
> >he'd have to pay for the e602. I've been in a situation like his and know
> >that it's a major concern. And he hasn't sorted the overhead mics problem
> >yet. He'll have to like the e602.
>
> Yes, but they're also useful for other things. You get the 421 and you
> have a nice kick drum mike, but also a nice vocal mike and a nice guitar
> mike. You get the e602 and it's a perfectly respectable kick mike but not
> very versatile.
>
> I think the key to getting good sound on a budget is to get quality gear
> that can do as many things as possible. That's why I am really gung-ho
> about a good small diaphragm condenser.
>
> >> >However, if push were to come to shove and i need to buy, which is the
> >> >better of the bad ???
> >>
> >> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
> think
> >> with the dollar falling so low that the Josephson mikes would be very
> >> cost-effective there right now.
> >
> >The AKG C451 is already out of his budget. The dollar should keep falling if
> >the Josephsons are to become affordable. It stopped falling too soon, if you
> >ask me.
>
> I'd take one Josephson over two AKG C451s, personally. One good mono overhead
> beats out two poorer ones in stereo.
>
> >> >Sound room saz they ship worldwide. So this could be a viable option.
> >>
> >> They are good people, and their mikes are consistent, and they stand
> behind
> >> what they sell. But you should still listen to anything before you buy
> >it.
> >
> >But if you have no way of listening before you buy and the budget is tight
> >and the job needs to be done (and again, I know very well what it's like),
> >go with the Oktavas, especially the Sound Room ones. If you can get them on
> >time, that is.
>
> Take a train to Delhi and spend fifty bucks for a few hours at a studio
> checking out their microphone cabinet! It's worth the money for the education.
I am from Delhi. And most of my education comes from you ppl.
The problem is that this country no longer has much of a live
instrument based music industry. Hence the problem with fiding mics
off the shelf, and importers will not stock as these are very slow
moving items.
> A lot of studios will give you a huge break on the hourly rate for this sort
> of thing if you want to come in during an otherwise open time.
This, my dear friend, is not the United States on America. If there
are any Studios in this country, worth their salt, there in Bombay.
> --scott
Sidhu
kludge@panix.com (Scott Dorsey) wrote in message news:<ckmt9b$dr7$1@panix2.panix.com>...
> Predrag Trpkov <predrag.trpkovNOSPAM@ri.htnet.hr> wrote:
> >"Scott Dorsey" <kludge@panix.com> wrote in message
> >news:ckmmp1$8r4$1@panix2.panix.com...
> >> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >> >I need to put together a drum mic set ASAP. And i am foxed by lack of
> >> >availability. Most (of the very few) distributers here do not stock.
> >> >And order on prepayment only. Which usually takes a lot longer than
> >> >promised etc etc..
>
> >> >For the kik the only thing readily available is the Sennheiser e602. I
> >> >read up and i think it's ok.
> >>
> >> Yes, but do you like the way it sounds? I would be very surprised if the
> >> RE-20 wasn't available from a broadcast supply house in Delhi. And there
> >> is always the Sennheiser 421, which is a great mike for other things.
> >
> >The MD421 would cost at least double and the RE-20 at least four times what
> >he'd have to pay for the e602. I've been in a situation like his and know
> >that it's a major concern. And he hasn't sorted the overhead mics problem
> >yet. He'll have to like the e602.
>
> Yes, but they're also useful for other things. You get the 421 and you
> have a nice kick drum mike, but also a nice vocal mike and a nice guitar
> mike. You get the e602 and it's a perfectly respectable kick mike but not
> very versatile.
>
> I think the key to getting good sound on a budget is to get quality gear
> that can do as many things as possible. That's why I am really gung-ho
> about a good small diaphragm condenser.
>
> >> >However, if push were to come to shove and i need to buy, which is the
> >> >better of the bad ???
> >>
> >> No Crown CM-700? You can't get a Josephson Fed-Exed to you? I would
> think
> >> with the dollar falling so low that the Josephson mikes would be very
> >> cost-effective there right now.
> >
> >The AKG C451 is already out of his budget. The dollar should keep falling if
> >the Josephsons are to become affordable. It stopped falling too soon, if you
> >ask me.
>
> I'd take one Josephson over two AKG C451s, personally. One good mono overhead
> beats out two poorer ones in stereo.
>
> >> >Sound room saz they ship worldwide. So this could be a viable option.
> >>
> >> They are good people, and their mikes are consistent, and they stand
> behind
> >> what they sell. But you should still listen to anything before you buy
> >it.
> >
> >But if you have no way of listening before you buy and the budget is tight
> >and the job needs to be done (and again, I know very well what it's like),
> >go with the Oktavas, especially the Sound Room ones. If you can get them on
> >time, that is.
>
> Take a train to Delhi and spend fifty bucks for a few hours at a studio
> checking out their microphone cabinet! It's worth the money for the education.
I am from Delhi. And most of my education comes from you ppl.
The problem is that this country no longer has much of a live
instrument based music industry. Hence the problem with fiding mics
off the shelf, and importers will not stock as these are very slow
moving items.
> A lot of studios will give you a huge break on the hourly rate for this sort
> of thing if you want to come in during an otherwise open time.
This, my dear friend, is not the United States on America. If there
are any Studios in this country, worth their salt, there in Bombay.
> --scott
Sidhu
Archived from groups: rec.audio.pro (More info?)
Sidhu wrote:
> The 414 i found to be a bit harsh. The 451 a bit
> bright (but maybe i just over EQ'd it when i worked with them a while
> back)
If you don't like bright mics like the 451EB the Rode NT5 might be a
very good choice for you.
A bit more expensive than the Behringer, a bit cheaper than the AKG
(sold/priced as a pair!).
IMO excellent mics (at their price point).
Sander
Sidhu wrote:
> The 414 i found to be a bit harsh. The 451 a bit
> bright (but maybe i just over EQ'd it when i worked with them a while
> back)
If you don't like bright mics like the 451EB the Rode NT5 might be a
very good choice for you.
A bit more expensive than the Behringer, a bit cheaper than the AKG
(sold/priced as a pair!).
IMO excellent mics (at their price point).
Sander
Archived from groups: rec.audio.pro (More info?)
> > Take a train to Delhi and spend fifty bucks for a few hours at a studio
> > checking out their microphone cabinet! It's worth the money for the education.
>
>
> I am from Delhi. And most of my education comes from you ppl.
> The problem is that this country no longer has much of a live
> instrument based music industry. Hence the problem with fiding mics
> off the shelf, and importers will not stock as these are very slow
> moving items.
How DID U figure im from around delhi.. ????? jeez i must be missing
something really stupid.
>
> > A lot of studios will give you a huge break on the hourly rate for this sort
> > of thing if you want to come in during an otherwise open time.
>
> This, my dear friend, is not the United States on America. If there
> are any Studios in this country, worth their salt, there in Bombay.
>
>
> > --scott
> Sidhu
> > Take a train to Delhi and spend fifty bucks for a few hours at a studio
> > checking out their microphone cabinet! It's worth the money for the education.
>
>
> I am from Delhi. And most of my education comes from you ppl.
> The problem is that this country no longer has much of a live
> instrument based music industry. Hence the problem with fiding mics
> off the shelf, and importers will not stock as these are very slow
> moving items.
How DID U figure im from around delhi.. ????? jeez i must be missing
something really stupid.
>
> > A lot of studios will give you a huge break on the hourly rate for this sort
> > of thing if you want to come in during an otherwise open time.
>
> This, my dear friend, is not the United States on America. If there
> are any Studios in this country, worth their salt, there in Bombay.
>
>
> > --scott
> Sidhu
Archived from groups: rec.audio.pro (More info?)
Thanks for all the help. I really understand the importance of
investing in quallity mics and not building junk in my cabnit. But
this is quite a catc 22 situation. I have a band ready to record with
me and im having to put them off constantly cause i cant figure drum
mics. Anywaz...
So i also have the option of now picking up the Shure PGDMK6 drum mic
kit. It fits nicely in budget, but i doubt it would really be anything
to write home about.
http://164.109.27.207/microphones/models/pgdmk6.asp
One thing if you ppl. can help me out with is locating a company that
will take orders online and ship to India, fast. Ill see whats the
best i can do then.
So far the c1000 is out. The AKG 535 will take a month to arrive after
the order is placed. (but if totally worth it, i could jump) Id
suspect the same for the 421. The 602 is available, along with the
SM81 (cannot afford) Akg 451 (cannot afford) maybe the Studio
projects.
The thing here is weired pricing. The Shures and the AKG's are
available here for bout the same as anywhere else. while the Studio
Projects cost almost twice as much.
Hypothetically speaking, if i were to be able to spencd much on
overheads, which ones do i go for : (bear in mind id like using them
for guitars etc too)
Shure SM81 or the AKG 451.
I am tempted towards the Oktavas but as stated, i might not like a
vintage flavour, and then soundroom has not as of yet replied to my
email.
I so dammed stressed right now.
But just to give you guyz a brief. These i record often.
Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
fatter than western classical) Guitar (yet to achieve a good acoustic
sound, the only really alluding factor so far), Tabla, dholak, Dholl
and other indian percussions. Heavy metal and voice.
I mentioned that i tried the 421 on a kik once and dint like at all
(compared with a D12, twas an old mic). But it sound good on a Tabla.
Sidhu
Thanks for all the help. I really understand the importance of
investing in quallity mics and not building junk in my cabnit. But
this is quite a catc 22 situation. I have a band ready to record with
me and im having to put them off constantly cause i cant figure drum
mics. Anywaz...
So i also have the option of now picking up the Shure PGDMK6 drum mic
kit. It fits nicely in budget, but i doubt it would really be anything
to write home about.
http://164.109.27.207/microphones/models/pgdmk6.asp
One thing if you ppl. can help me out with is locating a company that
will take orders online and ship to India, fast. Ill see whats the
best i can do then.
So far the c1000 is out. The AKG 535 will take a month to arrive after
the order is placed. (but if totally worth it, i could jump) Id
suspect the same for the 421. The 602 is available, along with the
SM81 (cannot afford) Akg 451 (cannot afford) maybe the Studio
projects.
The thing here is weired pricing. The Shures and the AKG's are
available here for bout the same as anywhere else. while the Studio
Projects cost almost twice as much.
Hypothetically speaking, if i were to be able to spencd much on
overheads, which ones do i go for : (bear in mind id like using them
for guitars etc too)
Shure SM81 or the AKG 451.
I am tempted towards the Oktavas but as stated, i might not like a
vintage flavour, and then soundroom has not as of yet replied to my
email.
I so dammed stressed right now.
But just to give you guyz a brief. These i record often.
Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
fatter than western classical) Guitar (yet to achieve a good acoustic
sound, the only really alluding factor so far), Tabla, dholak, Dholl
and other indian percussions. Heavy metal and voice.
I mentioned that i tried the 421 on a kik once and dint like at all
(compared with a D12, twas an old mic). But it sound good on a Tabla.
Sidhu
Archived from groups: rec.audio.pro (More info?)
Just got a reply from the sound room. they have the Oktava MC012
stereo pair in stock and will ship to India. What say. I have
mentioned uses (besides overheads) in a previous post. what say?
But i just figured, after paying customs and all for these mics, theyd
almost end up costing me as much a pair AKG C451's. Man, i think i
need to bite the bullet and starve for another 2 months.
Sux!
sidhu
Just got a reply from the sound room. they have the Oktava MC012
stereo pair in stock and will ship to India. What say. I have
mentioned uses (besides overheads) in a previous post. what say?
But i just figured, after paying customs and all for these mics, theyd
almost end up costing me as much a pair AKG C451's. Man, i think i
need to bite the bullet and starve for another 2 months.
Sux!
sidhu
Archived from groups: rec.audio.pro (More info?)
I stand corrected. The oktava pair will cost me less than the 451.
Sidhu
I stand corrected. The oktava pair will cost me less than the 451.
Sidhu
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>>
>> > A lot of studios will give you a huge break on the hourly rate for this sort
>> > of thing if you want to come in during an otherwise open time.
>>
>> This, my dear friend, is not the United States on America. If there
>> are any Studios in this country, worth their salt, there in Bombay.
It's true that most of the big guys are in Bombay. But in Delhi I can name
Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
more.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>>
>> > A lot of studios will give you a huge break on the hourly rate for this sort
>> > of thing if you want to come in during an otherwise open time.
>>
>> This, my dear friend, is not the United States on America. If there
>> are any Studios in this country, worth their salt, there in Bombay.
It's true that most of the big guys are in Bombay. But in Delhi I can name
Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
more.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>
>Hypothetically speaking, if i were to be able to spencd much on
>overheads, which ones do i go for : (bear in mind id like using them
>for guitars etc too)
>
>Shure SM81 or the AKG 451.
I would pick the original 451 over the SM-81, but I would pick the SM-81
over the new 451EB.
>I am tempted towards the Oktavas but as stated, i might not like a
>vintage flavour, and then soundroom has not as of yet replied to my
>email.
Vintage flavour? The whole notion of a small diaphragm condenser is to
be as neutral as possible.
>Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
>fatter than western classical) Guitar (yet to achieve a good acoustic
>sound, the only really alluding factor so far), Tabla, dholak, Dholl
>and other indian percussions. Heavy metal and voice.
I would tend to pick high grade dynamics for most of these things if you have
to spot mike them, or small diaphragm condensers if you can pull back.
>I mentioned that i tried the 421 on a kik once and dint like at all
>(compared with a D12, twas an old mic). But it sound good on a Tabla.
Have you considered a used D12 then? I'm no fan of those but they aren't
that expensive used.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>
>Hypothetically speaking, if i were to be able to spencd much on
>overheads, which ones do i go for : (bear in mind id like using them
>for guitars etc too)
>
>Shure SM81 or the AKG 451.
I would pick the original 451 over the SM-81, but I would pick the SM-81
over the new 451EB.
>I am tempted towards the Oktavas but as stated, i might not like a
>vintage flavour, and then soundroom has not as of yet replied to my
>email.
Vintage flavour? The whole notion of a small diaphragm condenser is to
be as neutral as possible.
>Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
>fatter than western classical) Guitar (yet to achieve a good acoustic
>sound, the only really alluding factor so far), Tabla, dholak, Dholl
>and other indian percussions. Heavy metal and voice.
I would tend to pick high grade dynamics for most of these things if you have
to spot mike them, or small diaphragm condensers if you can pull back.
>I mentioned that i tried the 421 on a kik once and dint like at all
>(compared with a D12, twas an old mic). But it sound good on a Tabla.
Have you considered a used D12 then? I'm no fan of those but they aren't
that expensive used.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckol81$ivs$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >
> >Hypothetically speaking, if i were to be able to spencd much on
> >overheads, which ones do i go for : (bear in mind id like using them
> >for guitars etc too)
> >
> >Shure SM81 or the AKG 451.
>
> I would pick the original 451 over the SM-81, but I would pick the SM-81
> over the new 451EB.
OK. But will not get old 451's.
>
> >I am tempted towards the Oktavas but as stated, i might not like a
> >vintage flavour, and then soundroom has not as of yet replied to my
> >email.
>
> Vintage flavour? The whole notion of a small diaphragm condenser is to
> be as neutral as possible.
Sorry. Bad Info then. I did not know that small diaphrams were nutral.
So what would you make of the 012 ?
>
> >Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
> >fatter than western classical) Guitar (yet to achieve a good acoustic
> >sound, the only really alluding factor so far), Tabla, dholak, Dholl
> >and other indian percussions. Heavy metal and voice.
>
> I would tend to pick high grade dynamics for most of these things if you have
> to spot mike them, or small diaphragm condensers if you can pull back.
>
> >I mentioned that i tried the 421 on a kik once and dint like at all
> >(compared with a D12, twas an old mic). But it sound good on a Tabla.
>
> Have you considered a used D12 then? I'm no fan of those but they aren't
> that expensive used.
The only place that i nows that has D12's is this studio called
Synthesis (figure ud know?) and hez not selling. OK mic. But will cut
it. Very thumpy.
> --scott
kludge@panix.com (Scott Dorsey) wrote in message news:<ckol81$ivs$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >
> >Hypothetically speaking, if i were to be able to spencd much on
> >overheads, which ones do i go for : (bear in mind id like using them
> >for guitars etc too)
> >
> >Shure SM81 or the AKG 451.
>
> I would pick the original 451 over the SM-81, but I would pick the SM-81
> over the new 451EB.
OK. But will not get old 451's.
>
> >I am tempted towards the Oktavas but as stated, i might not like a
> >vintage flavour, and then soundroom has not as of yet replied to my
> >email.
>
> Vintage flavour? The whole notion of a small diaphragm condenser is to
> be as neutral as possible.
Sorry. Bad Info then. I did not know that small diaphrams were nutral.
So what would you make of the 012 ?
>
> >Flute (all kinds, bamboo) Violin (mostly indian carnatic, sounds a lot
> >fatter than western classical) Guitar (yet to achieve a good acoustic
> >sound, the only really alluding factor so far), Tabla, dholak, Dholl
> >and other indian percussions. Heavy metal and voice.
>
> I would tend to pick high grade dynamics for most of these things if you have
> to spot mike them, or small diaphragm condensers if you can pull back.
>
> >I mentioned that i tried the 421 on a kik once and dint like at all
> >(compared with a D12, twas an old mic). But it sound good on a Tabla.
>
> Have you considered a used D12 then? I'm no fan of those but they aren't
> that expensive used.
The only place that i nows that has D12's is this studio called
Synthesis (figure ud know?) and hez not selling. OK mic. But will cut
it. Very thumpy.
> --scott
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >>
> >> > A lot of studios will give you a huge break on the hourly rate for this sort
> >> > of thing if you want to come in during an otherwise open time.
> >>
> >> This, my dear friend, is not the United States on America. If there
> >> are any Studios in this country, worth their salt, there in Bombay.
>
> It's true that most of the big guys are in Bombay. But in Delhi I can name
> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
> more.
Ure scaring me. What you got do with here. my family lives very near
simran. And i alwaz thought the above mentioned studios dont do much
music, so never bothered. Need to Update meself and chek out. Out of
curiosity, when was the last u visited em ?
> --scott
kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >>
> >> > A lot of studios will give you a huge break on the hourly rate for this sort
> >> > of thing if you want to come in during an otherwise open time.
> >>
> >> This, my dear friend, is not the United States on America. If there
> >> are any Studios in this country, worth their salt, there in Bombay.
>
> It's true that most of the big guys are in Bombay. But in Delhi I can name
> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
> more.
Ure scaring me. What you got do with here. my family lives very near
simran. And i alwaz thought the above mentioned studios dont do much
music, so never bothered. Need to Update meself and chek out. Out of
curiosity, when was the last u visited em ?
> --scott
Archived from groups: rec.audio.pro (More info?)
Well, you can't go wrong with SM57 for snare and toms never mind the
other 1000 uses including amps, percussion etc. The Oktave 012s are
just fine for overheads and other purposes. If you can get the 3
capsules for them it's worth it to have at least the omni capsules as
well.
I've liked the e609 on guitar amps no experience with it on kick drum.
I've liked the Senn 421 on kick drum. Just remember that the rotary
swtich need to be on M for music not to roll off the bass. Plus many
mics for kick have built in bass and high peaks for the instrument,
the 421 is flatter than say a D112 but a little EQ goes a long way
with them.
Any engineer worth a darn should be able to get a good drum sound with
57s and the MC012s. If you can get Shure products then look for the
Beta 52 for the kick. But I bet with a little work the e609 would work
just fine.
the kit you shpow I've never used. The condesers look an awful lot
like what Shure sold as BG4.0. rugged and Ok sounding, just slightly
harsh. I've used them for overheads in a pinch and on snare. Not half
bad but the Oktavas are much nicer. I still bet those mics would do a
good job as well.
Good luck in your search.
yuri
> Thanks for all the help. I really understand the importance of
> investing in quallity mics and not building junk in my cabnit. But
> this is quite a catc 22 situation. I have a band ready to record with
> me and im having to put them off constantly cause i cant figure drum
> mics. Anywaz...
>
> So i also have the option of now picking up the Shure PGDMK6 drum mic
> kit. It fits nicely in budget, but i doubt it would really be anything
> to write home about.
>
> http://164.109.27.207/microphones/models/pgdmk6.asp
>
Well, you can't go wrong with SM57 for snare and toms never mind the
other 1000 uses including amps, percussion etc. The Oktave 012s are
just fine for overheads and other purposes. If you can get the 3
capsules for them it's worth it to have at least the omni capsules as
well.
I've liked the e609 on guitar amps no experience with it on kick drum.
I've liked the Senn 421 on kick drum. Just remember that the rotary
swtich need to be on M for music not to roll off the bass. Plus many
mics for kick have built in bass and high peaks for the instrument,
the 421 is flatter than say a D112 but a little EQ goes a long way
with them.
Any engineer worth a darn should be able to get a good drum sound with
57s and the MC012s. If you can get Shure products then look for the
Beta 52 for the kick. But I bet with a little work the e609 would work
just fine.
the kit you shpow I've never used. The condesers look an awful lot
like what Shure sold as BG4.0. rugged and Ok sounding, just slightly
harsh. I've used them for overheads in a pinch and on snare. Not half
bad but the Oktavas are much nicer. I still bet those mics would do a
good job as well.
Good luck in your search.
yuri
> Thanks for all the help. I really understand the importance of
> investing in quallity mics and not building junk in my cabnit. But
> this is quite a catc 22 situation. I have a band ready to record with
> me and im having to put them off constantly cause i cant figure drum
> mics. Anywaz...
>
> So i also have the option of now picking up the Shure PGDMK6 drum mic
> kit. It fits nicely in budget, but i doubt it would really be anything
> to write home about.
>
> http://164.109.27.207/microphones/models/pgdmk6.asp
>
Archived from groups: rec.audio.pro (More info?)
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150721.6561a2fb@posting.google.com...
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
>
> But i just figured, after paying customs and all for these mics, theyd
> almost end up costing me as much a pair AKG C451's. Man, i think i
> need to bite the bullet and starve for another 2 months.
I'd take the Sound Room matched pair of Oktavas over the new 451s.
Particularly given the other instruments you'll be recording.
Peace,
Paul
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150721.6561a2fb@posting.google.com...
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
>
> But i just figured, after paying customs and all for these mics, theyd
> almost end up costing me as much a pair AKG C451's. Man, i think i
> need to bite the bullet and starve for another 2 months.
I'd take the Sound Room matched pair of Oktavas over the new 451s.
Particularly given the other instruments you'll be recording.
Peace,
Paul
Archived from groups: rec.audio.pro (More info?)
Sidhu wrote:
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
I say you'll love them. Does his set still contain hyper,
card and omni capsules for each?
Bob
--
"Things should be described as simply as possible, but no
simpler."
A. Einstein
Sidhu wrote:
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
I say you'll love them. Does his set still contain hyper,
card and omni capsules for each?
Bob
--
"Things should be described as simply as possible, but no
simpler."
A. Einstein
Archived from groups: rec.audio.pro (More info?)
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150800.536c0930@posting.google.com...
> I stand corrected. The oktava pair will cost me less than the 451.
>
> Sidhu
With the Oktavas, unlike the new C451, you also have the option of adding
quite affordable omni and hypercardioid capsules later. You may find it
rather useful.
Predrag
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150800.536c0930@posting.google.com...
> I stand corrected. The oktava pair will cost me less than the 451.
>
> Sidhu
With the Oktavas, unlike the new C451, you also have the option of adding
quite affordable omni and hypercardioid capsules later. You may find it
rather useful.
Predrag
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>Just got a reply from the sound room. they have the Oktava MC012
>stereo pair in stock and will ship to India. What say. I have
>mentioned uses (besides overheads) in a previous post. what say?
They are good reasonable all-purpose mikes. And I think having a good
neutral set of small diaphragm condensers is probably the most important
thing in your cabinet, and that you should skimp on everything else in
order to get them. One good mike beats a cabinet of bad ones.
>But i just figured, after paying customs and all for these mics, theyd
>almost end up costing me as much a pair AKG C451's. Man, i think i
>need to bite the bullet and starve for another 2 months.
I think they'll sound noticeably better than the C451EB mikes for a lot
of things.
Another thing you might look into is the EV N/D 468 egg mikes. They are
rather inexpensive little dynamics that are very handy; much more directional
than an SM-57 and they don't have a presence peak. They are sort of like
a poor man's 441.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>Just got a reply from the sound room. they have the Oktava MC012
>stereo pair in stock and will ship to India. What say. I have
>mentioned uses (besides overheads) in a previous post. what say?
They are good reasonable all-purpose mikes. And I think having a good
neutral set of small diaphragm condensers is probably the most important
thing in your cabinet, and that you should skimp on everything else in
order to get them. One good mike beats a cabinet of bad ones.
>But i just figured, after paying customs and all for these mics, theyd
>almost end up costing me as much a pair AKG C451's. Man, i think i
>need to bite the bullet and starve for another 2 months.
I think they'll sound noticeably better than the C451EB mikes for a lot
of things.
Another thing you might look into is the EV N/D 468 egg mikes. They are
rather inexpensive little dynamics that are very handy; much more directional
than an SM-57 and they don't have a presence peak. They are sort of like
a poor man's 441.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
>>
>> It's true that most of the big guys are in Bombay. But in Delhi I can name
>> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
>> more.
>
>Ure scaring me. What you got do with here. my family lives very near
>simran. And i alwaz thought the above mentioned studios dont do much
>music, so never bothered. Need to Update meself and chek out.
That's true, but even so you'll see stuff like the RE-20 being used as
a voiceover microphone, for instance. It's worth just visiting, if only
to see who you are competing against.
>Out of
>curiosity, when was the last u visited em ?
I admit it's probably been ten years since I was out there. I was last out
checking out an LP pressing facility for some Europeans who wanted to buy
some of the equipment.
Is JAI magnetic tape still available? Did they ever start making high output
tapes? With the current tape situation here in the US, someone should start
importing that stuff.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
>>
>> It's true that most of the big guys are in Bombay. But in Delhi I can name
>> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
>> more.
>
>Ure scaring me. What you got do with here. my family lives very near
>simran. And i alwaz thought the above mentioned studios dont do much
>music, so never bothered. Need to Update meself and chek out.
That's true, but even so you'll see stuff like the RE-20 being used as
a voiceover microphone, for instance. It's worth just visiting, if only
to see who you are competing against.
>Out of
>curiosity, when was the last u visited em ?
I admit it's probably been ten years since I was out there. I was last out
checking out an LP pressing facility for some Europeans who wanted to buy
some of the equipment.
Is JAI magnetic tape still available? Did they ever start making high output
tapes? With the current tape situation here in the US, someone should start
importing that stuff.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150721.6561a2fb@posting.google.com...
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
Stereo mics (XY- ORTF) for live anything. Guitar and other stringed
instruments, percusission, whatever.
>
> But i just figured, after paying customs and all for these mics, theyd
> almost end up costing me as much a pair AKG C451's. Man, i think i
> need to bite the bullet and starve for another 2 months.
They may be better that the new 451EBs in some respects.
geoff
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410150721.6561a2fb@posting.google.com...
> Just got a reply from the sound room. they have the Oktava MC012
> stereo pair in stock and will ship to India. What say. I have
> mentioned uses (besides overheads) in a previous post. what say?
Stereo mics (XY- ORTF) for live anything. Guitar and other stringed
instruments, percusission, whatever.
>
> But i just figured, after paying customs and all for these mics, theyd
> almost end up costing me as much a pair AKG C451's. Man, i think i
> need to bite the bullet and starve for another 2 months.
They may be better that the new 451EBs in some respects.
geoff
Archived from groups: rec.audio.pro (More info?)
Bob Cain <arcane@arcanemethods.com> wrote in message news:<ckppp101pbh@enews1.newsguy.com>...
> Sidhu wrote:
>
> > Just got a reply from the sound room. they have the Oktava MC012
> > stereo pair in stock and will ship to India. What say. I have
> > mentioned uses (besides overheads) in a previous post. what say?
>
> I say you'll love them. Does his set still contain hyper,
> card and omni capsules for each?
Yes, but u have the choice of ordering with just one kinda capsule.
and thats what ill be going in for right now. I think the Cardiod
(unless there are reasons for the other types).
>
>
> Bob
Bob Cain <arcane@arcanemethods.com> wrote in message news:<ckppp101pbh@enews1.newsguy.com>...
> Sidhu wrote:
>
> > Just got a reply from the sound room. they have the Oktava MC012
> > stereo pair in stock and will ship to India. What say. I have
> > mentioned uses (besides overheads) in a previous post. what say?
>
> I say you'll love them. Does his set still contain hyper,
> card and omni capsules for each?
Yes, but u have the choice of ordering with just one kinda capsule.
and thats what ill be going in for right now. I think the Cardiod
(unless there are reasons for the other types).
>
>
> Bob
Archived from groups: rec.audio.pro (More info?)
"Predrag Trpkov" <predrag.trpkovNOSPAM@ri.htnet.hr> wrote in message news:<ckp0dr$59n$1@ls219.htnet.hr>...
> "Sidhu" <nitinsidhu@indiatimes.com> wrote in message
> news:a9fdae05.0410150800.536c0930@posting.google.com...
> > I stand corrected. The oktava pair will cost me less than the 451.
> >
> > Sidhu
>
> With the Oktavas, unlike the new C451, you also have the option of adding
> quite affordable omni and hypercardioid capsules later. You may find it
> rather useful.
>
> Predrag
thats what i felt. I think ill zero in on the 012 from Sound room. And
get the capsules later if needed.
Sidhu
"Predrag Trpkov" <predrag.trpkovNOSPAM@ri.htnet.hr> wrote in message news:<ckp0dr$59n$1@ls219.htnet.hr>...
> "Sidhu" <nitinsidhu@indiatimes.com> wrote in message
> news:a9fdae05.0410150800.536c0930@posting.google.com...
> > I stand corrected. The oktava pair will cost me less than the 451.
> >
> > Sidhu
>
> With the Oktavas, unlike the new C451, you also have the option of adding
> quite affordable omni and hypercardioid capsules later. You may find it
> rather useful.
>
> Predrag
thats what i felt. I think ill zero in on the 012 from Sound room. And
get the capsules later if needed.
Sidhu
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<ckr7jv$6gk$1@panix1.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
> >>
> >> It's true that most of the big guys are in Bombay. But in Delhi I can name
> >> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
> >> more.
> >
> >Ure scaring me. What you got do with here. my family lives very near
> >simran. And i alwaz thought the above mentioned studios dont do much
> >music, so never bothered. Need to Update meself and chek out.
>
> That's true, but even so you'll see stuff like the RE-20 being used as
> a voiceover microphone, for instance. It's worth just visiting, if only
> to see who you are competing against.
Thats intreasting. Will follow up. But personally speaking, most of
the old guys have almost altogether moved on to Voice overs
exclusively. They bigger ones rent out studios to Nat Geo and
discovery and the likes.
And the others, well u really dont wanna know what comes out of these
facilities. It's really hard to explain. But overall, very grim.
Rocordists who have no clue, music composers/arrangers who think the
Yamaha PSR520 Kyboard is THE industry standard. Producers that only
want the same loop used in that album. (the women in the video must be
different though). A'n'R reps who want a beautifully crafeted carnatic
flute recital to have a "lounge" feel. It's so sad, it drives me up
the wall sometimes.
End of the day, my experience comes from all u ppl. I have yet to meet
a enginner in this place that I have learnt something off. And thats
not something thats made me happy, only depressed. At times i just
wanna get outta here. And bombay is no much better either. But yes,
some ppl do have a Neve.
>
> >Out of
> >curiosity, when was the last u visited em ?
>
> I admit it's probably been ten years since I was out there. I was last out
> checking out an LP pressing facility for some Europeans who wanted to buy
> some of the equipment.
Things have changed. For the worse.
> Is JAI magnetic tape still available? Did they ever start making high output
> tapes? With the current tape situation here in the US, someone should start
> importing that stuff.
U kidding me !!! Just today evening i transfered 7, 30min radio
programmed to BRAND NEW JAI 1/4 INCH TAPE (7 of them)!!!! I think it's
a lot better than INDU, the only other available. Want me to send you
some ???? But i havnt seen any high output tape. Ill call tomorow and
ask whats it that they are manufacturig.
Heres the irony. The only ppl still asking for quater inch masters are
the guyz at All India Radio, And each day I curse em for not porting
to CD or DAT. Reason ? Cause while the tape is there and at
reasonalble qualit, cant say the same for our 2 track machines. Chek
this out. The 2 trak at the studio wher i work konked off and spares
we cud not find, so ? we took out the 2 track circuit board, along
with the heads, and put em into our 4 trak machine. So now we have
channels 1 and 3 of the 4 track recording 2 track master to a quater
inch.
Sidhu
> --scott
kludge@panix.com (Scott Dorsey) wrote in message news:<ckr7jv$6gk$1@panix1.panix.com>...
> Sidhu <nitinsidhu@indiatimes.com> wrote:
> >kludge@panix.com (Scott Dorsey) wrote in message news:<ckol2i$fnm$1@panix2.panix.com>...
> >>
> >> It's true that most of the big guys are in Bombay. But in Delhi I can name
> >> Simran Audio, Neelam, and Alfa Sound offhand. There are probably a few
> >> more.
> >
> >Ure scaring me. What you got do with here. my family lives very near
> >simran. And i alwaz thought the above mentioned studios dont do much
> >music, so never bothered. Need to Update meself and chek out.
>
> That's true, but even so you'll see stuff like the RE-20 being used as
> a voiceover microphone, for instance. It's worth just visiting, if only
> to see who you are competing against.
Thats intreasting. Will follow up. But personally speaking, most of
the old guys have almost altogether moved on to Voice overs
exclusively. They bigger ones rent out studios to Nat Geo and
discovery and the likes.
And the others, well u really dont wanna know what comes out of these
facilities. It's really hard to explain. But overall, very grim.
Rocordists who have no clue, music composers/arrangers who think the
Yamaha PSR520 Kyboard is THE industry standard. Producers that only
want the same loop used in that album. (the women in the video must be
different though). A'n'R reps who want a beautifully crafeted carnatic
flute recital to have a "lounge" feel. It's so sad, it drives me up
the wall sometimes.
End of the day, my experience comes from all u ppl. I have yet to meet
a enginner in this place that I have learnt something off. And thats
not something thats made me happy, only depressed. At times i just
wanna get outta here. And bombay is no much better either. But yes,
some ppl do have a Neve.
>
> >Out of
> >curiosity, when was the last u visited em ?
>
> I admit it's probably been ten years since I was out there. I was last out
> checking out an LP pressing facility for some Europeans who wanted to buy
> some of the equipment.
Things have changed. For the worse.
> Is JAI magnetic tape still available? Did they ever start making high output
> tapes? With the current tape situation here in the US, someone should start
> importing that stuff.
U kidding me !!! Just today evening i transfered 7, 30min radio
programmed to BRAND NEW JAI 1/4 INCH TAPE (7 of them)!!!! I think it's
a lot better than INDU, the only other available. Want me to send you
some ???? But i havnt seen any high output tape. Ill call tomorow and
ask whats it that they are manufacturig.
Heres the irony. The only ppl still asking for quater inch masters are
the guyz at All India Radio, And each day I curse em for not porting
to CD or DAT. Reason ? Cause while the tape is there and at
reasonalble qualit, cant say the same for our 2 track machines. Chek
this out. The 2 trak at the studio wher i work konked off and spares
we cud not find, so ? we took out the 2 track circuit board, along
with the heads, and put em into our 4 trak machine. So now we have
channels 1 and 3 of the 4 track recording 2 track master to a quater
inch.
Sidhu
> --scott
Archived from groups: rec.audio.pro (More info?)
<< nitinsidhu@indiatimes.com (Sidhu) >>
<< Yes, but u have the choice of ordering with just one kinda capsule.
and thats what ill be going in for right now. I think the Cardiod
(unless there are reasons for the other types). >>
The hypercardiod capsules will help you when you need to get less bleed
from other instruments in the room. And if you need to get really close to a
source, omni capsules (or omni mics like the ECM8000) won't give you a huge low
end bump when you don't want it (the proximity effect). So you can stick an
omni in the soundhole of an instrument for example, and omnis also often have
fewer phase problems in my experience when combined with a cardiod than
cardiods can with each other. I'd say pick up a pair of the ECM8000 (they are
$40 USD each or less here) and use them for close micing bassy or metalic
sounding instruments. But when you want omnis for stereo spaced pair use in a
room, get the Oktava omni capsules as they are quieter.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
<< nitinsidhu@indiatimes.com (Sidhu) >>
<< Yes, but u have the choice of ordering with just one kinda capsule.
and thats what ill be going in for right now. I think the Cardiod
(unless there are reasons for the other types). >>
The hypercardiod capsules will help you when you need to get less bleed
from other instruments in the room. And if you need to get really close to a
source, omni capsules (or omni mics like the ECM8000) won't give you a huge low
end bump when you don't want it (the proximity effect). So you can stick an
omni in the soundhole of an instrument for example, and omnis also often have
fewer phase problems in my experience when combined with a cardiod than
cardiods can with each other. I'd say pick up a pair of the ECM8000 (they are
$40 USD each or less here) and use them for close micing bassy or metalic
sounding instruments. But when you want omnis for stereo spaced pair use in a
room, get the Oktava omni capsules as they are quieter.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>> Is JAI magnetic tape still available? Did they ever start making high output
>> tapes? With the current tape situation here in the US, someone should start
>> importing that stuff.
>
>U kidding me !!! Just today evening i transfered 7, 30min radio
>programmed to BRAND NEW JAI 1/4 INCH TAPE (7 of them)!!!! I think it's
>a lot better than INDU, the only other available. Want me to send you
>some ???? But i havnt seen any high output tape. Ill call tomorow and
>ask whats it that they are manufacturig.
When I last saw them, JAI was making red-oxide tapes for broadcast
applications. Low output... I think +3 over 185 nW/m. They were talking
about a HOLN (high output low noise) tape for use at +3 over 250 nW/m,
sort of like a typical high-grade tape from the early seventies before
backcoating made it big.
>Heres the irony. The only ppl still asking for quater inch masters are
>the guyz at All India Radio, And each day I curse em for not porting
>to CD or DAT. Reason ? Cause while the tape is there and at
>reasonalble qualit, cant say the same for our 2 track machines.
In the US, most folks are delivering CD or high resolution digital files to
the mastering house, but there are still some folks delivering analogue
tapes. What's sort of weird is that half-inch 2-track has become very
popular in the last decade and has actually started to ease quarter-inch
out.
In any case, now that BASF/Emtec is gone, there is only one source for
analogue tape in the US, Quantegy.
> Chek
>this out. The 2 trak at the studio wher i work konked off and spares
>we cud not find, so ? we took out the 2 track circuit board, along
>with the heads, and put em into our 4 trak machine. So now we have
>channels 1 and 3 of the 4 track recording 2 track master to a quater
>inch.
That doesn't sound too bad. I have a single ATR-100 here, with a box
of different head stacks. Sometimes it's 1/2" 4-track, sometimes it's
1/4" half-track, and every now and then it's 1/4" quarter-track, 1/4"
four-track or 1/2" three-track. Only takes up a small amount of space
in the room and in fifteen minutes you can swap from any format to any
other.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>> Is JAI magnetic tape still available? Did they ever start making high output
>> tapes? With the current tape situation here in the US, someone should start
>> importing that stuff.
>
>U kidding me !!! Just today evening i transfered 7, 30min radio
>programmed to BRAND NEW JAI 1/4 INCH TAPE (7 of them)!!!! I think it's
>a lot better than INDU, the only other available. Want me to send you
>some ???? But i havnt seen any high output tape. Ill call tomorow and
>ask whats it that they are manufacturig.
When I last saw them, JAI was making red-oxide tapes for broadcast
applications. Low output... I think +3 over 185 nW/m. They were talking
about a HOLN (high output low noise) tape for use at +3 over 250 nW/m,
sort of like a typical high-grade tape from the early seventies before
backcoating made it big.
>Heres the irony. The only ppl still asking for quater inch masters are
>the guyz at All India Radio, And each day I curse em for not porting
>to CD or DAT. Reason ? Cause while the tape is there and at
>reasonalble qualit, cant say the same for our 2 track machines.
In the US, most folks are delivering CD or high resolution digital files to
the mastering house, but there are still some folks delivering analogue
tapes. What's sort of weird is that half-inch 2-track has become very
popular in the last decade and has actually started to ease quarter-inch
out.
In any case, now that BASF/Emtec is gone, there is only one source for
analogue tape in the US, Quantegy.
> Chek
>this out. The 2 trak at the studio wher i work konked off and spares
>we cud not find, so ? we took out the 2 track circuit board, along
>with the heads, and put em into our 4 trak machine. So now we have
>channels 1 and 3 of the 4 track recording 2 track master to a quater
>inch.
That doesn't sound too bad. I have a single ATR-100 here, with a box
of different head stacks. Sometimes it's 1/2" 4-track, sometimes it's
1/4" half-track, and every now and then it's 1/4" quarter-track, 1/4"
four-track or 1/2" three-track. Only takes up a small amount of space
in the room and in fifteen minutes you can swap from any format to any
other.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
> In any case, now that BASF/Emtec is gone, there is only one source for
> analogue tape in the US, Quantegy.
Ppl. miss BASF out here too. But Maxells around. I think the JAI's are
still red oxide, tommorows monday. Ill find out the details for you.
But honestly, i fail to see much point in tape. It does changne the
sound though.
Sidhu
> In any case, now that BASF/Emtec is gone, there is only one source for
> analogue tape in the US, Quantegy.
Ppl. miss BASF out here too. But Maxells around. I think the JAI's are
still red oxide, tommorows monday. Ill find out the details for you.
But honestly, i fail to see much point in tape. It does changne the
sound though.
Sidhu
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cks6o5$d9j$1@panix3.panix.com>...
>>
>> Sounds to me like it's time for grey marketing. Klay Alexander should at
>> least ship to Hungary and India.
>
>Who is Alexander ????
http://www.klay.com should do it. He sells a lot of gear to the broadcast
industry so he is pretty used to working with companies abroad, and he has
a good selection of products available.
There are lots of other companies in the US that will ship to the rest of
the world, too, he's just the guy I thought of first, and he's a good guy
that I trust.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cks6o5$d9j$1@panix3.panix.com>...
>>
>> Sounds to me like it's time for grey marketing. Klay Alexander should at
>> least ship to Hungary and India.
>
>Who is Alexander ????
http://www.klay.com should do it. He sells a lot of gear to the broadcast
industry so he is pretty used to working with companies abroad, and he has
a good selection of products available.
There are lots of other companies in the US that will ship to the rest of
the world, too, he's just the guy I thought of first, and he's a good guy
that I trust.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>> In any case, now that BASF/Emtec is gone, there is only one source for
>> analogue tape in the US, Quantegy.
>
>Ppl. miss BASF out here too. But Maxells around. I think the JAI's are
>still red oxide, tommorows monday. Ill find out the details for you.
>But honestly, i fail to see much point in tape. It does changne the
>sound though.
Not in the US. Last batch of Maxell UD in 1/4" was sold in the US this
past winter. I don't know if it's being made in Japan and just not being
sold in the US or they have stopped making it entirely. And they never did
make it any wider than 1/4".
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>> In any case, now that BASF/Emtec is gone, there is only one source for
>> analogue tape in the US, Quantegy.
>
>Ppl. miss BASF out here too. But Maxells around. I think the JAI's are
>still red oxide, tommorows monday. Ill find out the details for you.
>But honestly, i fail to see much point in tape. It does changne the
>sound though.
Not in the US. Last batch of Maxell UD in 1/4" was sold in the US this
past winter. I don't know if it's being made in Japan and just not being
sold in the US or they have stopped making it entirely. And they never did
make it any wider than 1/4".
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
Sidhu wrote:
>
> One thing if you ppl. can help me out with is locating a company that
> will take orders online and ship to India, fast.
Try Musicians Gear in Dubai
<http://www.musicians-gear.co.ae/>
Sidhu wrote:
>
> One thing if you ppl. can help me out with is locating a company that
> will take orders online and ship to India, fast.
Try Musicians Gear in Dubai
<http://www.musicians-gear.co.ae/>
Archived from groups: rec.audio.pro (More info?)
Scott Dorsey wrote:
> Sidhu wrote:
> > Scott Dorsey) wrote...
> >> Sounds to me like it's time for grey marketing. Klay Alexander should at
> >> least ship to Hungary and India.
> >Who is Alexander ????
> http://www.klay.com should do it. He sells a lot of gear to the broadcast
> industry so he is pretty used to working with companies abroad, and he has
> a good selection of products available.
But his website isn't the greatest so going there and then emailing him
from the mail link might be advisable. But yes, Klay is a keen pro audio
supplier. Highly recommended
--
ha
Scott Dorsey wrote:
> Sidhu wrote:
> > Scott Dorsey) wrote...
> >> Sounds to me like it's time for grey marketing. Klay Alexander should at
> >> least ship to Hungary and India.
> >Who is Alexander ????
> http://www.klay.com should do it. He sells a lot of gear to the broadcast
> industry so he is pretty used to working with companies abroad, and he has
> a good selection of products available.
But his website isn't the greatest so going there and then emailing him
from the mail link might be advisable. But yes, Klay is a keen pro audio
supplier. Highly recommended
--
ha
Archived from groups: rec.audio.pro (More info?)
In article <a9fdae05.0410150328.704ea7e4@posting.google.com> nitinsidhu@indiatimes.com writes:
> So i also have the option of now picking up the Shure PGDMK6 drum mic
> kit. It fits nicely in budget, but i doubt it would really be anything
> to write home about.
You're probably correct, but if you don't already have a good drum mic
setup, having really great mics alone won't assure that you get a good
recorded drum sound. A kit is a good way to start, and you can
supplemente it later as you grow experience. If it's convenient and
will get your recording project started (the really important thing)
I'd say go for it.
--
I'm really Mike Rivers - (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
In article <a9fdae05.0410150328.704ea7e4@posting.google.com> nitinsidhu@indiatimes.com writes:
> So i also have the option of now picking up the Shure PGDMK6 drum mic
> kit. It fits nicely in budget, but i doubt it would really be anything
> to write home about.
You're probably correct, but if you don't already have a good drum mic
setup, having really great mics alone won't assure that you get a good
recorded drum sound. A kit is a good way to start, and you can
supplemente it later as you grow experience. If it's convenient and
will get your recording project started (the really important thing)
I'd say go for it.
--
I'm really Mike Rivers - (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
Archived from groups: rec.audio.pro (More info?)
willstg@aol.comnospam (WillStG) wrote in message news:<20041016152333.16217.00000821@mb-m01.aol.com>...
> << nitinsidhu@indiatimes.com (Sidhu) >>
> << Yes, but u have the choice of ordering with just one kinda capsule.
> and thats what ill be going in for right now. I think the Cardiod
> (unless there are reasons for the other types). >>
>
> The hypercardiod capsules will help you when you need to get less bleed
> from other instruments in the room. And if you need to get really close to a
> source, omni capsules (or omni mics like the ECM8000) won't give you a huge low
> end bump when you don't want it (the proximity effect). So you can stick an
> omni in the soundhole of an instrument for example, and omnis also often have
> fewer phase problems in my experience when combined with a cardiod than
> cardiods can with each other. I'd say pick up a pair of the ECM8000 (they are
> $40 USD each or less here) and use them for close micing bassy or metalic
> sounding instruments. But when you want omnis for stereo spaced pair use in a
> room, get the Oktava omni capsules as they are quieter.
But i am a bit concerned about the rear lobe on the hyper. in a
situation say where i need to record a Tabla and a Dholak, or sitar
(both indian percussion instruments) together, The players might like
to sit facing each other. Now my understanding says that in such a
scenario hyper might not be a good choice. I rather go cardiod. But if
i cud get them to sit at an angle of say around 60 degrees to each
other, then it might work. Also what kind of sound difference can i
expect within these patterns ? but then the rear lobe might pik up
reflection off the facing wall, which ofcourse is not treatred.
Instruments like Sitar and the Sarod are very metallic in sound, yet
play soft. So it is important to close mic them. I usually have an
issue with the metallic sound of these instruments. Would using any
good mic in Omni help, or is the Behringer particualrly good at
tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
here.
and with the 012's which capsule to order ?
Thanks for the help.
>
> Will Miho
> NY Music & TV Audio Guy
> Off the Morning Show! & sleepin' In... / Fox News
> "The large print giveth and the small print taketh away..." Tom Waits
willstg@aol.comnospam (WillStG) wrote in message news:<20041016152333.16217.00000821@mb-m01.aol.com>...
> << nitinsidhu@indiatimes.com (Sidhu) >>
> << Yes, but u have the choice of ordering with just one kinda capsule.
> and thats what ill be going in for right now. I think the Cardiod
> (unless there are reasons for the other types). >>
>
> The hypercardiod capsules will help you when you need to get less bleed
> from other instruments in the room. And if you need to get really close to a
> source, omni capsules (or omni mics like the ECM8000) won't give you a huge low
> end bump when you don't want it (the proximity effect). So you can stick an
> omni in the soundhole of an instrument for example, and omnis also often have
> fewer phase problems in my experience when combined with a cardiod than
> cardiods can with each other. I'd say pick up a pair of the ECM8000 (they are
> $40 USD each or less here) and use them for close micing bassy or metalic
> sounding instruments. But when you want omnis for stereo spaced pair use in a
> room, get the Oktava omni capsules as they are quieter.
But i am a bit concerned about the rear lobe on the hyper. in a
situation say where i need to record a Tabla and a Dholak, or sitar
(both indian percussion instruments) together, The players might like
to sit facing each other. Now my understanding says that in such a
scenario hyper might not be a good choice. I rather go cardiod. But if
i cud get them to sit at an angle of say around 60 degrees to each
other, then it might work. Also what kind of sound difference can i
expect within these patterns ? but then the rear lobe might pik up
reflection off the facing wall, which ofcourse is not treatred.
Instruments like Sitar and the Sarod are very metallic in sound, yet
play soft. So it is important to close mic them. I usually have an
issue with the metallic sound of these instruments. Would using any
good mic in Omni help, or is the Behringer particualrly good at
tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
here.
and with the 012's which capsule to order ?
Thanks for the help.
>
> Will Miho
> NY Music & TV Audio Guy
> Off the Morning Show! & sleepin' In... / Fox News
> "The large print giveth and the small print taketh away..." Tom Waits
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>
>But i am a bit concerned about the rear lobe on the hyper. in a
>situation say where i need to record a Tabla and a Dholak, or sitar
>(both indian percussion instruments) together, The players might like
>to sit facing each other. Now my understanding says that in such a
>scenario hyper might not be a good choice. I rather go cardiod. But if
>i cud get them to sit at an angle of say around 60 degrees to each
>other, then it might work. Also what kind of sound difference can i
>expect within these patterns ? but then the rear lobe might pik up
>reflection off the facing wall, which ofcourse is not treatred.
The side effect of the rear lobe is that you now have very tight nulls
around 120'. This means that if you can place one instrument so that
the other is in the null of the first's microphone, you get much better
rejection than with a cardioid.
BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
have much of a rear lobe. The cardioid is wider than most cardioids too.
>Instruments like Sitar and the Sarod are very metallic in sound, yet
>play soft. So it is important to close mic them. I usually have an
>issue with the metallic sound of these instruments. Would using any
>good mic in Omni help, or is the Behringer particualrly good at
>tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>here.
What are you using right now that is so metallic? And why do you want them
to be less metallic than they really are?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>
>But i am a bit concerned about the rear lobe on the hyper. in a
>situation say where i need to record a Tabla and a Dholak, or sitar
>(both indian percussion instruments) together, The players might like
>to sit facing each other. Now my understanding says that in such a
>scenario hyper might not be a good choice. I rather go cardiod. But if
>i cud get them to sit at an angle of say around 60 degrees to each
>other, then it might work. Also what kind of sound difference can i
>expect within these patterns ? but then the rear lobe might pik up
>reflection off the facing wall, which ofcourse is not treatred.
The side effect of the rear lobe is that you now have very tight nulls
around 120'. This means that if you can place one instrument so that
the other is in the null of the first's microphone, you get much better
rejection than with a cardioid.
BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
have much of a rear lobe. The cardioid is wider than most cardioids too.
>Instruments like Sitar and the Sarod are very metallic in sound, yet
>play soft. So it is important to close mic them. I usually have an
>issue with the metallic sound of these instruments. Would using any
>good mic in Omni help, or is the Behringer particualrly good at
>tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>here.
What are you using right now that is so metallic? And why do you want them
to be less metallic than they really are?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<cl0lm3$qsl$1@panix3.panix.com>...
> The side effect of the rear lobe is that you now have very tight nulls
> around 120'. This means that if you can place one instrument so that
> the other is in the null of the first's microphone, you get much better
> rejection than with a cardioid.
>
> BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
> have much of a rear lobe. The cardioid is wider than most cardioids too.
OK. So what would you suggest to be a good choice of the two ?
>
> >Instruments like Sitar and the Sarod are very metallic in sound, yet
> >play soft. So it is important to close mic them. I usually have an
> >issue with the metallic sound of these instruments. Would using any
> >good mic in Omni help, or is the Behringer particualrly good at
> >tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
> >here.
>
> What are you using right now that is so metallic? And why do you want them
> to be less metallic than they really are?
Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
SDC, U87,
Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
wasnt good enough to know the diffrence. And now that i think im
better, i dont have access to these mics. I think the Beta 58 worked
well (used it recently). So did the Rode. (all references to Sitar).
I once tried stereo micing the Sitar. Using two 451's (one was an EB).
One on the bridge and another a little up the neck. The neck mic was a
bad idea. I removed it during the mix.
Also stereo miced a SWhankar Veena that time (New Indian Varient of
the Six string Spanish guitar, played with a slide, single peice
construction, hollow body, But no sound hole). Again one near the
bridge an another near the 12th fret. Spaced AB. One of the most
beautifull recordings ive done so far. I gave the mix to the client as
is. No Eq, No compression. Nothing.
I think there is a difference between sweet metallic and ear cringing
metallic. It's the former that im after.
Sidhu
kludge@panix.com (Scott Dorsey) wrote in message news:<cl0lm3$qsl$1@panix3.panix.com>...
> The side effect of the rear lobe is that you now have very tight nulls
> around 120'. This means that if you can place one instrument so that
> the other is in the null of the first's microphone, you get much better
> rejection than with a cardioid.
>
> BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
> have much of a rear lobe. The cardioid is wider than most cardioids too.
OK. So what would you suggest to be a good choice of the two ?
>
> >Instruments like Sitar and the Sarod are very metallic in sound, yet
> >play soft. So it is important to close mic them. I usually have an
> >issue with the metallic sound of these instruments. Would using any
> >good mic in Omni help, or is the Behringer particualrly good at
> >tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
> >here.
>
> What are you using right now that is so metallic? And why do you want them
> to be less metallic than they really are?
Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
SDC, U87,
Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
wasnt good enough to know the diffrence. And now that i think im
better, i dont have access to these mics. I think the Beta 58 worked
well (used it recently). So did the Rode. (all references to Sitar).
I once tried stereo micing the Sitar. Using two 451's (one was an EB).
One on the bridge and another a little up the neck. The neck mic was a
bad idea. I removed it during the mix.
Also stereo miced a SWhankar Veena that time (New Indian Varient of
the Six string Spanish guitar, played with a slide, single peice
construction, hollow body, But no sound hole). Again one near the
bridge an another near the 12th fret. Spaced AB. One of the most
beautifull recordings ive done so far. I gave the mix to the client as
is. No Eq, No compression. Nothing.
I think there is a difference between sweet metallic and ear cringing
metallic. It's the former that im after.
Sidhu
Archived from groups: rec.audio.pro (More info?)
mrivers@d-and-d.com (Mike Rivers) wrote in message news:<znr1097846692k@trad>...
> In article <a9fdae05.0410150328.704ea7e4@posting.google.com> nitinsidhu@indiatimes.com writes:
>
> > So i also have the option of now picking up the Shure PGDMK6 drum mic
> > kit. It fits nicely in budget, but i doubt it would really be anything
> > to write home about.
>
> You're probably correct, but if you don't already have a good drum mic
> setup, having really great mics alone won't assure that you get a good
> recorded drum sound. A kit is a good way to start, and you can
> supplemente it later as you grow experience. If it's convenient and
> will get your recording project started (the really important thing)
> I'd say go for it.
Noted.
mrivers@d-and-d.com (Mike Rivers) wrote in message news:<znr1097846692k@trad>...
> In article <a9fdae05.0410150328.704ea7e4@posting.google.com> nitinsidhu@indiatimes.com writes:
>
> > So i also have the option of now picking up the Shure PGDMK6 drum mic
> > kit. It fits nicely in budget, but i doubt it would really be anything
> > to write home about.
>
> You're probably correct, but if you don't already have a good drum mic
> setup, having really great mics alone won't assure that you get a good
> recorded drum sound. A kit is a good way to start, and you can
> supplemente it later as you grow experience. If it's convenient and
> will get your recording project started (the really important thing)
> I'd say go for it.
Noted.
Archived from groups: rec.audio.pro (More info?)
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410180044.704a7c7f@posting.google.com...
> But i am a bit concerned about the rear lobe on the hyper. in a
> situation say where i need to record a Tabla and a Dholak, or sitar
> (both indian percussion instruments) together, The players might like
> to sit facing each other. Now my understanding says that in such a
> scenario hyper might not be a good choice. I rather go cardiod. But if
> i cud get them to sit at an angle of say around 60 degrees to each
> other, then it might work. Also what kind of sound difference can i
> expect within these patterns ? but then the rear lobe might pik up
> reflection off the facing wall, which ofcourse is not treatred.
>
> Instruments like Sitar and the Sarod are very metallic in sound, yet
> play soft. So it is important to close mic them. I usually have an
> issue with the metallic sound of these instruments. Would using any
> good mic in Omni help, or is the Behringer particualrly good at
> tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
> here.
>
> and with the 012's which capsule to order ?
I'd go for the hypercardioids. You'd get better rejection at the sides, and
on my mics at least, the hypercardioids are a little gentler on top, useful
for instruments that tend toward the metallic. Although frankly my
inclination for those instruments would be a Beyer ribbon such as an M260 or
M160.
Peace,
Paul
"Sidhu" <nitinsidhu@indiatimes.com> wrote in message
news:a9fdae05.0410180044.704a7c7f@posting.google.com...
> But i am a bit concerned about the rear lobe on the hyper. in a
> situation say where i need to record a Tabla and a Dholak, or sitar
> (both indian percussion instruments) together, The players might like
> to sit facing each other. Now my understanding says that in such a
> scenario hyper might not be a good choice. I rather go cardiod. But if
> i cud get them to sit at an angle of say around 60 degrees to each
> other, then it might work. Also what kind of sound difference can i
> expect within these patterns ? but then the rear lobe might pik up
> reflection off the facing wall, which ofcourse is not treatred.
>
> Instruments like Sitar and the Sarod are very metallic in sound, yet
> play soft. So it is important to close mic them. I usually have an
> issue with the metallic sound of these instruments. Would using any
> good mic in Omni help, or is the Behringer particualrly good at
> tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
> here.
>
> and with the 012's which capsule to order ?
I'd go for the hypercardioids. You'd get better rejection at the sides, and
on my mics at least, the hypercardioids are a little gentler on top, useful
for instruments that tend toward the metallic. Although frankly my
inclination for those instruments would be a Beyer ribbon such as an M260 or
M160.
Peace,
Paul
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cl0lm3$qsl$1@panix3.panix.com>...
>
>> The side effect of the rear lobe is that you now have very tight nulls
>> around 120'. This means that if you can place one instrument so that
>> the other is in the null of the first's microphone, you get much better
>> rejection than with a cardioid.
>>
>> BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
>> have much of a rear lobe. The cardioid is wider than most cardioids too.
>
>OK. So what would you suggest to be a good choice of the two ?
Personally, I would pick the hypercardioid by a long shot, but that is just
me. I've got a review of the Josephson e22 microphone that ought to be out
in Recording magazine soon, which has some discussion about this. The e22
was built to be as directional as possible without creating a rear lobe. I
would have personally picked more directionality and the rear lobe, but the
original guy who commissioned the microphone design didn't like rear lobes
and wanted to be able to put a mike up anywhere in a drum kit without worrying
about that. It's entirely a judgement call.
>> >Instruments like Sitar and the Sarod are very metallic in sound, yet
>> >play soft. So it is important to close mic them. I usually have an
>> >issue with the metallic sound of these instruments. Would using any
>> >good mic in Omni help, or is the Behringer particualrly good at
>> >tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>> >here.
>>
>> What are you using right now that is so metallic? And why do you want them
>> to be less metallic than they really are?
>
>Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
>SDC, U87,
>Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
>wasnt good enough to know the diffrence. And now that i think im
>better, i dont have access to these mics. I think the Beta 58 worked
>well (used it recently). So did the Rode. (all references to Sitar).
The one thing to avoid is mikes with a presence peak, which will really
bring that out. The SM57 or SM58 will really emphasize that.
>I once tried stereo micing the Sitar. Using two 451's (one was an EB).
>One on the bridge and another a little up the neck. The neck mic was a
>bad idea. I removed it during the mix.
>
>Also stereo miced a SWhankar Veena that time (New Indian Varient of
>the Six string Spanish guitar, played with a slide, single peice
>construction, hollow body, But no sound hole). Again one near the
>bridge an another near the 12th fret. Spaced AB. One of the most
>beautifull recordings ive done so far. I gave the mix to the client as
>is. No Eq, No compression. Nothing.
My personal feeling is that sitar sounds much better if you just put it into
a very live room and pull way back and mike the room rather than the
instrument. This is a great sound for Indian classical music, but it is
very different than the modern Bhollywood soundtrack sound and a lot of
people don't like the more distant (and even hollow) approach. Never
dealt with the Shankar Veena.
>I think there is a difference between sweet metallic and ear cringing
>metallic. It's the former that im after.
My tendency is to urge you to pull back more and avoid anything with a
4KHz-6KHz peak to it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cl0lm3$qsl$1@panix3.panix.com>...
>
>> The side effect of the rear lobe is that you now have very tight nulls
>> around 120'. This means that if you can place one instrument so that
>> the other is in the null of the first's microphone, you get much better
>> rejection than with a cardioid.
>>
>> BUT, let me say that the hypercardioid Oktava is pretty wide, and does not
>> have much of a rear lobe. The cardioid is wider than most cardioids too.
>
>OK. So what would you suggest to be a good choice of the two ?
Personally, I would pick the hypercardioid by a long shot, but that is just
me. I've got a review of the Josephson e22 microphone that ought to be out
in Recording magazine soon, which has some discussion about this. The e22
was built to be as directional as possible without creating a rear lobe. I
would have personally picked more directionality and the rear lobe, but the
original guy who commissioned the microphone design didn't like rear lobes
and wanted to be able to put a mike up anywhere in a drum kit without worrying
about that. It's entirely a judgement call.
>> >Instruments like Sitar and the Sarod are very metallic in sound, yet
>> >play soft. So it is important to close mic them. I usually have an
>> >issue with the metallic sound of these instruments. Would using any
>> >good mic in Omni help, or is the Behringer particualrly good at
>> >tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>> >here.
>>
>> What are you using right now that is so metallic? And why do you want them
>> to be less metallic than they really are?
>
>Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
>SDC, U87,
>Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
>wasnt good enough to know the diffrence. And now that i think im
>better, i dont have access to these mics. I think the Beta 58 worked
>well (used it recently). So did the Rode. (all references to Sitar).
The one thing to avoid is mikes with a presence peak, which will really
bring that out. The SM57 or SM58 will really emphasize that.
>I once tried stereo micing the Sitar. Using two 451's (one was an EB).
>One on the bridge and another a little up the neck. The neck mic was a
>bad idea. I removed it during the mix.
>
>Also stereo miced a SWhankar Veena that time (New Indian Varient of
>the Six string Spanish guitar, played with a slide, single peice
>construction, hollow body, But no sound hole). Again one near the
>bridge an another near the 12th fret. Spaced AB. One of the most
>beautifull recordings ive done so far. I gave the mix to the client as
>is. No Eq, No compression. Nothing.
My personal feeling is that sitar sounds much better if you just put it into
a very live room and pull way back and mike the room rather than the
instrument. This is a great sound for Indian classical music, but it is
very different than the modern Bhollywood soundtrack sound and a lot of
people don't like the more distant (and even hollow) approach. Never
dealt with the Shankar Veena.
>I think there is a difference between sweet metallic and ear cringing
>metallic. It's the former that im after.
My tendency is to urge you to pull back more and avoid anything with a
4KHz-6KHz peak to it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
>nitinsidhu@indiatimes.com (Sidhu)
>But i am a bit concerned about the rear lobe on the hyper. in a
>situation say where i need to record a Tabla and a Dholak, or sitar
>(both indian percussion instruments) together, The players might like
>to sit facing each other. Now my understanding says that in such a
>scenario hyper might not be a good choice. I rather go cardiod. But if
>i cud get them to sit at an angle of say around 60 degrees to each
>other, then it might work.
Well even if the players are facing each other you can still place the
*mics* at angles to each other. Sometimes as spot mics I have just stuck a 414
in figure 8 between two instrumentalists in a similar trio setting, with a
cardiod on the third instrument which was the softest one (harp or zither or
something).
>Also what kind of sound difference can i
>expect within these patterns ? but then the rear lobe might pik up
>reflection off the facing wall, which ofcourse is not treatred.
What you do is try to place the null of the mic facing whatever you wish to
reject the most. You can always hang a packing blanket over a short mic stand
with the boom crossways forming a "T", and place that to kill rear reflections
if they are a problem. Usually they are low enough relative to the insturment
that it is no problem. And one thing I like about omnis close up is that they
capture the intrument in the context of the room, which is nice if you want a
more open sound.
>Instruments like Sitar and the Sarod are very metallic in sound, yet
>play soft. So it is important to close mic them. I usually have an
>issue with the metallic sound of these instruments. Would using any
>good mic in Omni help, or is the Behringer particualrly good at
>tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>here.
Sound like keys jangling or metal plates really test a microphone, many
just get brittle and harsh when confronted with that kind of a sonic challenge.
But omni microphones are easier to make sound good, and you can get close
without tons of proximity effect (which increases as the pattern progressively
narrows.) The down side of the ECM8000 is they are bit noisy, but if you can
get close enough they have a decent output level so that might not be a problem
for you. They definitely work for drums IMO.
>and with the 012's which capsule to order ?
>Thanks for the help.
Well depends how much money you have. If I were on a budget and needed a
lot of mics, I might consider buying a matched pair from Soundroom with all 3
capsules (about $640 USD) and then picking up a couple or more of them cheap
for $100 a piece (cardiod only) at Guitar Center. Then you would have a well
matched pair for stereo micing X/Y or AB, and whatever you weren't using for
that you could mix and match for another usable couple of spot mics, or maybe
for flank mics if the mic bodies on the single mics weren't too different in
response from each other.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
>nitinsidhu@indiatimes.com (Sidhu)
>But i am a bit concerned about the rear lobe on the hyper. in a
>situation say where i need to record a Tabla and a Dholak, or sitar
>(both indian percussion instruments) together, The players might like
>to sit facing each other. Now my understanding says that in such a
>scenario hyper might not be a good choice. I rather go cardiod. But if
>i cud get them to sit at an angle of say around 60 degrees to each
>other, then it might work.
Well even if the players are facing each other you can still place the
*mics* at angles to each other. Sometimes as spot mics I have just stuck a 414
in figure 8 between two instrumentalists in a similar trio setting, with a
cardiod on the third instrument which was the softest one (harp or zither or
something).
>Also what kind of sound difference can i
>expect within these patterns ? but then the rear lobe might pik up
>reflection off the facing wall, which ofcourse is not treatred.
What you do is try to place the null of the mic facing whatever you wish to
reject the most. You can always hang a packing blanket over a short mic stand
with the boom crossways forming a "T", and place that to kill rear reflections
if they are a problem. Usually they are low enough relative to the insturment
that it is no problem. And one thing I like about omnis close up is that they
capture the intrument in the context of the room, which is nice if you want a
more open sound.
>Instruments like Sitar and the Sarod are very metallic in sound, yet
>play soft. So it is important to close mic them. I usually have an
>issue with the metallic sound of these instruments. Would using any
>good mic in Omni help, or is the Behringer particualrly good at
>tackling this issue ? We get the Behringer ECM8000 at bout 90 USD
>here.
Sound like keys jangling or metal plates really test a microphone, many
just get brittle and harsh when confronted with that kind of a sonic challenge.
But omni microphones are easier to make sound good, and you can get close
without tons of proximity effect (which increases as the pattern progressively
narrows.) The down side of the ECM8000 is they are bit noisy, but if you can
get close enough they have a decent output level so that might not be a problem
for you. They definitely work for drums IMO.
>and with the 012's which capsule to order ?
>Thanks for the help.
Well depends how much money you have. If I were on a budget and needed a
lot of mics, I might consider buying a matched pair from Soundroom with all 3
capsules (about $640 USD) and then picking up a couple or more of them cheap
for $100 a piece (cardiod only) at Guitar Center. Then you would have a well
matched pair for stereo micing X/Y or AB, and whatever you weren't using for
that you could mix and match for another usable couple of spot mics, or maybe
for flank mics if the mic bodies on the single mics weren't too different in
response from each other.
Will Miho
NY Music & TV Audio Guy
Off the Morning Show! & sleepin' In... / Fox News
"The large print giveth and the small print taketh away..." Tom Waits
Archived from groups: rec.audio.pro (More info?)
Paul Stamler wrote:
> Although frankly my inclination for those instruments would be a Beyer
> ribbon such as an M260 or M160.
Except he has a little behringer mixer, which is okay for some things,
but not for an M160.
--
ha
Paul Stamler wrote:
> Although frankly my inclination for those instruments would be a Beyer
> ribbon such as an M260 or M160.
Except he has a little behringer mixer, which is okay for some things,
but not for an M160.
--
ha
Archived from groups: rec.audio.pro (More info?)
"hank alrich" <walkinay@thegrid.net> wrote in message
news:1glupwi.enu3iq1p2j3pcN%walkinay@thegrid.net...
> Paul Stamler wrote:
>
> > Although frankly my inclination for those instruments would be a Beyer
> > ribbon such as an M260 or M160.
>
> Except he has a little behringer mixer, which is okay for some things,
> but not for an M160.
True. Well, he's mostly looking for drum overheads, which will then do
double-duty on other things.
Pity about the mixer, since M160s actually can make nice drum overheads. But
they're kind of out of the price range he mentioned anyway.
Peace,
Paul
"hank alrich" <walkinay@thegrid.net> wrote in message
news:1glupwi.enu3iq1p2j3pcN%walkinay@thegrid.net...
> Paul Stamler wrote:
>
> > Although frankly my inclination for those instruments would be a Beyer
> > ribbon such as an M260 or M160.
>
> Except he has a little behringer mixer, which is okay for some things,
> but not for an M160.
True. Well, he's mostly looking for drum overheads, which will then do
double-duty on other things.
Pity about the mixer, since M160s actually can make nice drum overheads. But
they're kind of out of the price range he mentioned anyway.
Peace,
Paul
Archived from groups: rec.audio.pro (More info?)
Paul Stamler wrote:
> "hank alrich" wrote...
> > Paul Stamler wrote:
> > > Although frankly my inclination for those instruments would be a Beyer
> > > ribbon such as an M260 or M160.
> > Except he has a little behringer mixer, which is okay for some things,
> > but not for an M160.
> True. Well, he's mostly looking for drum overheads, which will then do
> double-duty on other things.
I like them as OH mics, too, and for lots of things. (I'm whispering so
Ty won't hear me say this stuff.) But they do need some preamp ooompf.
> Pity about the mixer, since M160s actually can make nice drum overheads. But
> they're kind of out of the price range he mentioned anyway.
Wonder if he'd be better off wth a fistful of 57's and a couple of
RNP's? <g>
--
ha
Paul Stamler wrote:
> "hank alrich" wrote...
> > Paul Stamler wrote:
> > > Although frankly my inclination for those instruments would be a Beyer
> > > ribbon such as an M260 or M160.
> > Except he has a little behringer mixer, which is okay for some things,
> > but not for an M160.
> True. Well, he's mostly looking for drum overheads, which will then do
> double-duty on other things.
I like them as OH mics, too, and for lots of things. (I'm whispering so
Ty won't hear me say this stuff.) But they do need some preamp ooompf.
> Pity about the mixer, since M160s actually can make nice drum overheads. But
> they're kind of out of the price range he mentioned anyway.
Wonder if he'd be better off wth a fistful of 57's and a couple of
RNP's? <g>
--
ha
Archived from groups: rec.audio.pro (More info?)
kludge@panix.com (Scott Dorsey) wrote in message news:<cl19s5$h7j$1@panix2.panix.com>...
> >> What are you using right now that is so metallic? And why do you want them
> >> to be less metallic than they really are?
> >
> >Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
> >SDC, U87,
> >Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
> >wasnt good enough to know the diffrence. And now that i think im
> >better, i dont have access to these mics. I think the Beta 58 worked
> >well (used it recently). So did the Rode. (all references to Sitar).
>
> The one thing to avoid is mikes with a presence peak, which will really
> bring that out. The SM57 or SM58 will really emphasize that.
I mentioned the mics above. Of these, could u kindly tell me ure pik
for such recording, and well stick to spot micing for now. Also
irrespective of the above mentioned mics, which would be your pik ?
Also throw in a word for the 012 for uch applications.
thanks
kludge@panix.com (Scott Dorsey) wrote in message news:<cl19s5$h7j$1@panix2.panix.com>...
> >> What are you using right now that is so metallic? And why do you want them
> >> to be less metallic than they really are?
> >
> >Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
> >SDC, U87,
> >Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
> >wasnt good enough to know the diffrence. And now that i think im
> >better, i dont have access to these mics. I think the Beta 58 worked
> >well (used it recently). So did the Rode. (all references to Sitar).
>
> The one thing to avoid is mikes with a presence peak, which will really
> bring that out. The SM57 or SM58 will really emphasize that.
I mentioned the mics above. Of these, could u kindly tell me ure pik
for such recording, and well stick to spot micing for now. Also
irrespective of the above mentioned mics, which would be your pik ?
Also throw in a word for the 012 for uch applications.
thanks
Archived from groups: rec.audio.pro (More info?)
walkinay@thegrid.net (hank alrich) wrote in message news:<1glupwi.enu3iq1p2j3pcN%walkinay@thegrid.net>...
> Paul Stamler wrote:
>
> > Although frankly my inclination for those instruments would be a Beyer
> > ribbon such as an M260 or M160.
>
> Except he has a little behringer mixer, which is okay for some things,
> but not for an M160.
I think I am ok with this mixer for now. Thank you.
walkinay@thegrid.net (hank alrich) wrote in message news:<1glupwi.enu3iq1p2j3pcN%walkinay@thegrid.net>...
> Paul Stamler wrote:
>
> > Although frankly my inclination for those instruments would be a Beyer
> > ribbon such as an M260 or M160.
>
> Except he has a little behringer mixer, which is okay for some things,
> but not for an M160.
I think I am ok with this mixer for now. Thank you.
Archived from groups: rec.audio.pro (More info?)
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cl19s5$h7j$1@panix2.panix.com>...
>
>> >> What are you using right now that is so metallic? And why do you want them
>> >> to be less metallic than they really are?
>> >
>> >Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
>> >SDC, U87,
>> >Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
>> >wasnt good enough to know the diffrence. And now that i think im
>> >better, i dont have access to these mics. I think the Beta 58 worked
>> >well (used it recently). So did the Rode. (all references to Sitar).
>>
>> The one thing to avoid is mikes with a presence peak, which will really
>> bring that out. The SM57 or SM58 will really emphasize that.
>
>I mentioned the mics above. Of these, could u kindly tell me ure pik
>for such recording, and well stick to spot micing for now. Also
>irrespective of the above mentioned mics, which would be your pik ?
>Also throw in a word for the 012 for uch applications.
If I absolutely had to spot mike, I would probably use a good dynamic mike
without a presence peak. Even the EV 635A, which in the US can often be
found used for under fifty dollars. I don't think I would use most of the
condensers because I would want somthing to tone the top end down a bit.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Sidhu <nitinsidhu@indiatimes.com> wrote:
>kludge@panix.com (Scott Dorsey) wrote in message news:<cl19s5$h7j$1@panix2.panix.com>...
>
>> >> What are you using right now that is so metallic? And why do you want them
>> >> to be less metallic than they really are?
>> >
>> >Well, Ive tried the 414 B ULS, 451 (the non EB), a cheap Generis (ADK)
>> >SDC, U87,
>> >Rode NT1, the 58 and Beta 58. But most of these mics i tried when i
>> >wasnt good enough to know the diffrence. And now that i think im
>> >better, i dont have access to these mics. I think the Beta 58 worked
>> >well (used it recently). So did the Rode. (all references to Sitar).
>>
>> The one thing to avoid is mikes with a presence peak, which will really
>> bring that out. The SM57 or SM58 will really emphasize that.
>
>I mentioned the mics above. Of these, could u kindly tell me ure pik
>for such recording, and well stick to spot micing for now. Also
>irrespective of the above mentioned mics, which would be your pik ?
>Also throw in a word for the 012 for uch applications.
If I absolutely had to spot mike, I would probably use a good dynamic mike
without a presence peak. Even the EV 635A, which in the US can often be
found used for under fifty dollars. I don't think I would use most of the
condensers because I would want somthing to tone the top end down a bit.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
Ive been trying to get in touch with the sound room ppl. but there not
replying. I wanted to know how do they ship. (if it's a door to door
service, so I wont need to go the customs office). And if they can
make a cheaper invoice. There not getting back.![:(]( ":(")
Sidhu
Ive been trying to get in touch with the sound room ppl. but there not
replying. I wanted to know how do they ship. (if it's a door to door
service, so I wont need to go the customs office). And if they can
make a cheaper invoice. There not getting back.
Sidhu
Archived from groups: rec.audio.pro (More info?)
Just taken delivery of the Oktava MC012 stereo pair from the sound
room. Looking forward to using it. Thank you all for all the help.
Regards,
Sidhu
Just taken delivery of the Oktava MC012 stereo pair from the sound
room. Looking forward to using it. Thank you all for all the help.
Regards,
Sidhu
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