Quote:
Originally Posted by DoMD  So far I think the only mic suggested is the SM7 and for pre's we've got Avalon vt737 or UA 610 then LA-2A (good as LA-610 combo?), or 1176, or Distressor compression. Short list. |
it's a short list that contains 2 of the most versatile compressors on the planet, and the third is impossible to get a bad sound out of.
your request is a tad on the absurd tip. matching a mic to a voice is probably the most specialized, in-the-moment, can't-tell-til-you-hear-it task any engineer can face. once i've heard the actual voice, i have a good sense of which piece in the locker stands a chance of working, but even then the potential for surprise is large.
the safest tip is to nab a workhorse --- sm7 is good, u47 clones are good, r84 is good --- plug it into another workhorse --- 512, 1073 --- and move on. you want specificity on a level that is impossible to give without simply shooting in the dark. anyone here can do that, but it's really no better than choosing something by throwing darts at a poster.
there is no piece of gear that will make an unpalatable voice palatable. as others have rightly said, the arrangement can help to mitigate the crap, as can production choices. but the real solution lays in changing the source itself, your voice.
or not. maybe everything is perfect just as it is, and your job is to simply capture the music and get on with life.
gregoire
del
ubk
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