Originally Posted by fuzzface777
I really liked the Blue Pacifica with it. Great detail on the low end and punch on the mid range IMO. Hopefully you'll be able to put ears on some of the pre's you listed.
What do you currently own? Are you planning on a 2nd mic?
Originally Posted by wwittman
yes, this is why all those Beatles records and Dark Side Of The Moon and Crime Of The Century all sucked.
you need ONE good mic pre type, in as many channels as you need to record at once.
if I am recording on an API desk, the Royers sound great through it.
if I am recording on a Neve the Royers sound great through it.
There's no such thing as a preamp that "goes with" something whether it's a mic or a genre or an instrument.
GOOD mic pres "go with" good mics on good instruments.
Slow your roll playboy. Of course those records didn't suck. Are you seriously suggesting you'd only want to use the tools available at that time? To quote Dave Chapelle "Fine, moe monkey pussy for meee".
Your point about one good pre for everything is well taken, but especially with ribbon mics, I need certain things to meet certain criteria to get the best
out of them. For example, I love the old Gates, Collins, Telefunken and RCA mic pre's for certain things. But they would almost all frustrate me if I was trying to get my gain structure right with a non-powered ribbon mic like the Royer 121
(which has pretty damn good gain compared to some others). It doesn't mean that those pre's suck- they just aren't right for the job at hand, to me. I also like pre's with higher slew rates, like the Audio Upgrades pre, on things like OH's so I can capture the attack and sustain of the cymbal with excellent detail, where as something like an upright bass I tend to dig the way other pre's with slower (and I'm just focusing on one element) slew rates can help reenforce the low end big-round-warm-insert buzzword-jenny craig low end. I also seem to like slow slew rate stuff on vocals that are over sibilant to handle esses. Another personal example is, I like the way Neve 3405's (my pref) and 1272's stack on distorted guitar tracks, but hate the low mid build up I get when doubling vocals. There's also benefits to impedance matching/mismatching. Would any of those pre's sound great in any given situation? Probably- but not the best in all of them.
It should also be mentioned that mic's DO affect the way mic pre's sound. It's a load in the signal path. I'm not saying it's going to stop the Beatles, or Pink Floyd, or maybe even Cindi Lauper from making a sucessful record, but if this is a site dedicated to talking about gear, it should be mentioned how gear reacts with other gear.
Then again, I was never a huge fan of Supertramp or their recordings.
Originally Posted by GearHunter
While I have never tried the middle-of-the-cone placement (believing it to be dead-zone where there's little vibration) I find that for rythm guitars, using a 57
(or SM7) and 121
together is great. For leads, I'll get away with just the 121
So...what's this middle-of-cone thing? I've mic'd the back of the speaker before, but the middle? Does anything good come from there?
Never done that in over 20 years of getting great guitar-sounds.
Anytime I have hit the cone dead on, it's been several feet back from the speaker, so it's picking more stuff up.
I usually stick the SM57
where the cone meets the dome for the top end (especially bees-in-a-tin-can Marshall distortion) fizz and the 122
(or other ribbon) toward the edge for the low end balls (especially Dumble or Dual Rect distortion). If the distortion is still taking my head off, moving the ribbon off axis to cut back on the high frequencies seems to work best. I tend to keep the ribbon as close to the speaker as I need the benefit of the low end, almost sacrifice-free proximity effect. If I need a much bigger sound for a lead, or something that I want to build around, I do that dual SM57
thing on the back of the amp I've blabbed about for years here.
...and then there's the IBP To me,
Something this thread really highlights is how much GS has changed over the years. To me,
GS used to focus on gear and simply assume you had the slight idea of what the hell you were doing. To me,
this was a place to focus more on tools, and less on technique- something plenty of other forums already covered. To me,
I think records made before I was born are still awesome, mostly in terms of songwriting. To me,
I think any great engineer could
make a great record on less than great gear. To me,
it was the reason I used to go on posting vacations and stick to the chatroom. To me,
I often think the current posters don't give a fück.