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Originally Posted by not_so_new So Michael without speaking for you I would sum up your approach as this. With a little luck and a little skill in a prefect world you would like to get to a situation where you don't touch a digital or analog EQ other than over the 2 buss or as an effect on a given track. I assume this accurate. |
Yes.
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Originally Posted by not_so_new So to accomplish this I see it as three main parts, the tone of the source, the equipment used and mic placement.
Of these three which do you choose to change first and how much effect do you think each has towards your goal of less or no channel EQ??
Do you move the mic around first or do you put a mic up and just know that it is not the right thing off the bat? Do you choose the pre first or get the mic and the placement down the switch out the pre. Are you overly critical of placement, some are and some are not..... |
If I'm not 100% certain (based on experience) which mic to use, I go through a selection of mics that I think make sense for the particular source, and some oddballs, which I've never tried on that source. I set them up all in the same place in relation to the source, one after the other. I use the same mic pre for each mic (the ones int the SONY console are just fine for that, because they are fairly neutral). Then I record a track at the same level with each mic in order to compare the general usefulness of each mic on that source.
After I find the best mic for the job, I have the assistant move it around while the instrument is being played, to find the right placement. The assistand has to wear headphones where he/she can hear me talk in the control room, so I can yell "stop" when the mic is in the right spot.
Then I try different mic pres to see which one transports most of the "mood" of the instrument into the control room. Most of the time I'm happy at that point, but if not I use a little EQ to help it along. Doing things in that order keeps me in most cases from having to go back and change the mic or the position later. Compression gets used to get control over high dynamic sources or as an effect (overcompression on acoustic 12 string, drum room etc.)
The whole thing takes a lot of time and concentration, if no time is available, i might go for what worked in the past and use EQ if needed. Whatever works
