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Does anybody know the microphones used by slaughterhouse for there mix tapes/albums
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CRYPTICprod
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9th February 2013
Old 9th February 2013
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Does anybody know the microphones used by slaughterhouse for there mix tapes/albums

Just wondering really as there vocals sound amazing, I know it's not just the mic it's the effects, the engineer ect, I was just wondering about the mic though, looked around on google and I get no where aha
Thanks
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9th February 2013
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Yes

Just search a little harder and ye shall find. Perhaps searching a forum might even shed some light.
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Thanks
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That's cool, thanks man
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I think even with the "mic & preamp" recepie, Slaughter House has delivery and the proper engineers to make most tracks sound good.

Posted via mobile device.
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10th February 2013
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Originally Posted by drethe5th View Post
I think even with the "mic & preamp" recepie, Slaughter House has delivery and the proper engineers to make most tracks sound good.

Posted via mobile device.
Yeah man your right, it's not always bout equipment, it's the artist and the engineers, if they got skill the track is going to sound the shit aha
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10th February 2013
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Originally Posted by drethe5th View Post
I think even with the "mic & preamp" recepie, Slaughter House has delivery and the proper engineers to make most tracks sound good.

Posted via mobile device.
That's a fact. Royce & Crook recorded some of their parts elsewhere I don't know what mics they used, but I make it work...
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10th February 2013
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That's a fact. Royce & Crook recorded some of their parts elsewhere I don't know what mics they used, but I make it work...
Well you did a awesome job
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Well, I recorded and mixed a good deal of it, i used a Neumann TLM103 through either a Amek 9098 into a Manley Elop or Avalon 737 to record. Hope that answers your question lol.
Long time lurker. Have a question for someone of your calibre. Do mic's and pre-amps actually make a difference in how a polished rapper will sound when a song is completed with mixing and mastering. How much emphasis do we have to really place on the equipment in comparison to the performer and engineer's performance. OR is it the acoustics of the room? Won't a Joe Budden or Royce song sound just as good if recorded through a sm7b or a at4040 through an ISA one in comparison if recorded through a u87 or blue kiwi through an avalon 737?

Does the equipment actually make a NOTICEABLE difference?
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Mic particularly makes a difference, and although the general culture here on GS is "pick the right mic for the right voice" you're not always afforded that luxury, so generally speaking, throwing up a GOOD mic will give you the least hassle during mixdown...it doesn't have to be 100% the most amazing perfect match because the fact is there's so many variables that can dictate that, and where 1 shines in some instances another might shine in others, so it kind of becomes a taste issue.

That being said, I've found that when you throw up a shitty mic the artist more than anyone notices, so that may effect that performance.

There's a lot of other things that effect a good recording higher on the priority list than Preamp in my eyes, namely tone and performance of the artist, and a lot of that can change day to day as well.

For example, Joe's voice generally doesn't sound great the day after a performance (a lot of people have this problem) so you could throw up a billion dollar mic and a gazillion dollar preamp and still have a tone that doesn't sit pretty. Also, the way a rhyme is written can effect how something sounds, the placement of consonants and such, the GREATS are aware of which combinations of vocal sounds sound good in their voice and which don't.

Pitch is also important, another artist I work with a lot, OC (DITC) is very cognizant of his pitch, and well run through different takes for a while just getting the pitch right for the song...

I recorded some vocals of Joe's recently on his single with Lil Wayne with a C414 through stock C|24 preamps, which I would describe as a far from ideal signal chain, but it still mixed fine with the stuff I recorded on the Neumann through the Manley.

I find that the advantage of using a nice Preamp is that it generally has more flexibility, Low Pass Filters, Pads, Gain and Output controls all come in handy when you're trying to get the best signal possible. The difference between a Neve and say a API to me is greatly exaggerated and ultimately, in the context of a mix won't make a huge difference.

On No Love Lost (Joe's new album) I used the following preamps:

Avalon 737
Amek 9098
Digitech VTP-1
API 3124
Bae 1073
C|24
Control|24

I dare someone to even begin to guess which was used on which song...

Compressors are very different though for sure, I like to compress during tracking, but again any capable compressor will do honestly.

So I guess to sum up, I'd say #1 is writing, #2 is performance/tone/feel/timing #3 is Engineer #4 is gear...

If I were someone who was a rapper looking to buy gear or something I'd generally recommend getting the best you can afford. If spending 10k on a U47 is nothing to you by all means buy the great mic, but I think for most people getting something light like say a 4040 or a Sm7 and an Mbox for cutting demos and figuring out things at home is more than enough, if you're gonna spend a grip of $ I think spending it with an engineer at a studio will get you further than spending a grip on shit you don't really know how to use and don't really have the time to learn, or cut the songs on your decent setup and give the files to a mix engineer to polish for you.

If you're an aspiring engineer buy the best stuff you can afford while keeping in mind gear may matter to your potential clients (depending on how good you are, or how much they trust your ability to give them a great product).

If your an aspiring producer id probably lump you in with the "aspiring rapper" category above.

Hope that makes sense and helps, if you have any other questions let me know
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10th February 2013
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Quote:
Originally Posted by Studio507 View Post
Mic particularly makes a difference, and although the general culture here on GS is "pick the right mic for the right voice" you're not always afforded that luxury, so generally speaking, throwing up a GOOD mic will give you the least hassle during mixdown...it doesn't have to be 100% the most amazing perfect match because the fact is there's so many variables that can dictate that, and where 1 shines in some instances another might shine in others, so it kind of becomes a taste issue.

That being said, I've found that when you throw up a shitty mic the artist more than anyone notices, so that may effect that performance.

There's a lot of other things that effect a good recording higher on the priority list than Preamp in my eyes, namely tone and performance of the artist, and a lot of that can change day to day as well.

For example, Joe's voice generally doesn't sound great the day after a performance (a lot of people have this problem) so you could throw up a billion dollar mic and a gazillion dollar preamp and still have a tone that doesn't sit pretty. Also, the way a rhyme is written can effect how something sounds, the placement of consonants and such, the GREATS are aware of which combinations of vocal sounds sound good in their voice and which don't.

Pitch is also important, another artist I work with a lot, OC (DITC) is very cognizant of his pitch, and well run through different takes for a while just getting the pitch right for the song...

I recorded some vocals of Joe's recently on his single with Lil Wayne with a C414 through stock C|24 preamps, which I would describe as a far from ideal signal chain, but it still mixed fine with the stuff I recorded on the Neumann through the Manley.

I find that the advantage of using a nice Preamp is that it generally has more flexibility, Low Pass Filters, Pads, Gain and Output controls all come in handy when you're trying to get the best signal possible. The difference between a Neve and say a API to me is greatly exaggerated and ultimately, in the context of a mix won't make a huge difference.

On No Love Lost (Joe's new album) I used the following preamps:

Avalon 737
Amek 9098
Digitech VTP-1
API 3124
Bae 1073
C|24
Control|24

I dare someone to even begin to guess which was used on which song...

Compressors are very different though for sure, I like to compress during tracking, but again any capable compressor will do honestly.

So I guess to sum up, I'd say #1 is writing, #2 is performance/tone/feel/timing #3 is Engineer #4 is gear...

If I were someone who was a rapper looking to buy gear or something I'd generally recommend getting the best you can afford. If spending 10k on a U47 is nothing to you by all means buy the great mic, but I think for most people getting something light like say a 4040 or a Sm7 and an Mbox for cutting demos and figuring out things at home is more than enough, if you're gonna spend a grip of $ I think spending it with an engineer at a studio will get you further than spending a grip on shit you don't really know how to use and don't really have the time to learn, or cut the songs on your decent setup and give the files to a mix engineer to polish for you.

If you're an aspiring engineer buy the best stuff you can afford while keeping in mind gear may matter to your potential clients (depending on how good you are, or how much they trust your ability to give them a great product).

If your an aspiring producer id probably lump you in with the "aspiring rapper" category above.

Hope that makes sense and helps, if you have any other questions let me know
Yeah, thanks for the insightful response. I'm asking you from a rappers perspective. Asking because i've spent some money at lower tier basement studio's with lower tier equipment and I want to step it up, but by reading responses from people on gs ( just like you stated), everyone believes there's a certain mic for everyone's voice. Not to mention, people are stating there are certain Microphones that work and DONT work with pre-amps which makes things tougher. I feel like in the real world, musicians aren't as picky with combinations of mics and pre-amps. With all that said, I think you bring up a valid point, being that a musician is better off to just go straight into a studio with a proven engineer who owns high end equipment for them to realize where they stand in terms of sound.
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11th February 2013
Old 11th February 2013
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Quote:
Originally Posted by Studio507 View Post
Mic particularly makes a difference, and although the general culture here on GS is "pick the right mic for the right voice" you're not always afforded that luxury, so generally speaking, throwing up a GOOD mic will give you the least hassle during mixdown...it doesn't have to be 100% the most amazing perfect match because the fact is there's so many variables that can dictate that, and where 1 shines in some instances another might shine in others, so it kind of becomes a taste issue.

That being said, I've found that when you throw up a shitty mic the artist more than anyone notices, so that may effect that performance.

There's a lot of other things that effect a good recording higher on the priority list than Preamp in my eyes, namely tone and performance of the artist, and a lot of that can change day to day as well.

For example, Joe's voice generally doesn't sound great the day after a performance (a lot of people have this problem) so you could throw up a billion dollar mic and a gazillion dollar preamp and still have a tone that doesn't sit pretty. Also, the way a rhyme is written can effect how something sounds, the placement of consonants and such, the GREATS are aware of which combinations of vocal sounds sound good in their voice and which don't.

Pitch is also important, another artist I work with a lot, OC (DITC) is very cognizant of his pitch, and well run through different takes for a while just getting the pitch right for the song...

I recorded some vocals of Joe's recently on his single with Lil Wayne with a C414 through stock C|24 preamps, which I would describe as a far from ideal signal chain, but it still mixed fine with the stuff I recorded on the Neumann through the Manley.

I find that the advantage of using a nice Preamp is that it generally has more flexibility, Low Pass Filters, Pads, Gain and Output controls all come in handy when you're trying to get the best signal possible. The difference between a Neve and say a API to me is greatly exaggerated and ultimately, in the context of a mix won't make a huge difference.

On No Love Lost (Joe's new album) I used the following preamps:

Avalon 737
Amek 9098
Digitech VTP-1
API 3124
Bae 1073
C|24
Control|24

I dare someone to even begin to guess which was used on which song...

Compressors are very different though for sure, I like to compress during tracking, but again any capable compressor will do honestly.

So I guess to sum up, I'd say #1 is writing, #2 is performance/tone/feel/timing #3 is Engineer #4 is gear...

If I were someone who was a rapper looking to buy gear or something I'd generally recommend getting the best you can afford. If spending 10k on a U47 is nothing to you by all means buy the great mic, but I think for most people getting something light like say a 4040 or a Sm7 and an Mbox for cutting demos and figuring out things at home is more than enough, if you're gonna spend a grip of $ I think spending it with an engineer at a studio will get you further than spending a grip on shit you don't really know how to use and don't really have the time to learn, or cut the songs on your decent setup and give the files to a mix engineer to polish for you.

If you're an aspiring engineer buy the best stuff you can afford while keeping in mind gear may matter to your potential clients (depending on how good you are, or how much they trust your ability to give them a great product).

If your an aspiring producer id probably lump you in with the "aspiring rapper" category above.

Hope that makes sense and helps, if you have any other questions let me know
I have produced for a while also I rap, but produce a few hip hop artists and I am in the process of taking my home studio out to a building and making it a real studio, so that means advancing my equipment alot, I will be getting a neve and Avalon pre amp and mostly be doing my stuff on logic and pro tools
My trouble is the mic, you said get the best you can afford by budget is $6000 what would be the best for rap vocals? As no can really say, what would your opinion on it be, as it would help me out on a. Couple of mics i was going to get, what would your opinion be on the best 3 mics I could get for the budget of $6000 eatch or less of course, as there is no mic for rap apparently aha, what 1 or 3 mics do you think for rap would be the best in my price range, also I know the quality of my tracks won't depend on the mic but will be my producing, engineering skills and the artists ect I was just curious on the 'best' mics
Thanks
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11th February 2013
Old 11th February 2013
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Quote:
Originally Posted by Studio507 View Post
Mic particularly makes a difference, and although the general culture here on GS is "pick the right mic for the right voice" you're not always afforded that luxury, so generally speaking, throwing up a GOOD mic will give you the least hassle during mixdown...it doesn't have to be 100% the most amazing perfect match because the fact is there's so many variables that can dictate that, and where 1 shines in some instances another might shine in others, so it kind of becomes a taste issue.

That being said, I've found that when you throw up a shitty mic the artist more than anyone notices, so that may effect that performance.

There's a lot of other things that effect a good recording higher on the priority list than Preamp in my eyes, namely tone and performance of the artist, and a lot of that can change day to day as well.

For example, Joe's voice generally doesn't sound great the day after a performance (a lot of people have this problem) so you could throw up a billion dollar mic and a gazillion dollar preamp and still have a tone that doesn't sit pretty. Also, the way a rhyme is written can effect how something sounds, the placement of consonants and such, the GREATS are aware of which combinations of vocal sounds sound good in their voice and which don't.

Pitch is also important, another artist I work with a lot, OC (DITC) is very cognizant of his pitch, and well run through different takes for a while just getting the pitch right for the song...

I recorded some vocals of Joe's recently on his single with Lil Wayne with a C414 through stock C|24 preamps, which I would describe as a far from ideal signal chain, but it still mixed fine with the stuff I recorded on the Neumann through the Manley.

I find that the advantage of using a nice Preamp is that it generally has more flexibility, Low Pass Filters, Pads, Gain and Output controls all come in handy when you're trying to get the best signal possible. The difference between a Neve and say a API to me is greatly exaggerated and ultimately, in the context of a mix won't make a huge difference.

On No Love Lost (Joe's new album) I used the following preamps:

Avalon 737
Amek 9098
Digitech VTP-1
API 3124
Bae 1073
C|24
Control|24

I dare someone to even begin to guess which was used on which song...

Compressors are very different though for sure, I like to compress during tracking, but again any capable compressor will do honestly.

So I guess to sum up, I'd say #1 is writing, #2 is performance/tone/feel/timing #3 is Engineer #4 is gear...

If I were someone who was a rapper looking to buy gear or something I'd generally recommend getting the best you can afford. If spending 10k on a U47 is nothing to you by all means buy the great mic, but I think for most people getting something light like say a 4040 or a Sm7 and an Mbox for cutting demos and figuring out things at home is more than enough, if you're gonna spend a grip of $ I think spending it with an engineer at a studio will get you further than spending a grip on shit you don't really know how to use and don't really have the time to learn, or cut the songs on your decent setup and give the files to a mix engineer to polish for you.

If you're an aspiring engineer buy the best stuff you can afford while keeping in mind gear may matter to your potential clients (depending on how good you are, or how much they trust your ability to give them a great product).

If your an aspiring producer id probably lump you in with the "aspiring rapper" category above.

Hope that makes sense and helps, if you have any other questions let me know
Studio 507 thanks for the insight on things, i like how you broke this down. I think delivery matters a lot but at times when im in the studio i feel like my voice sounds different from the last session and this actually effects my performance. I use u87 thru an avalon 737 however, the engineer who records me has no idea how to mess with the settings, so we usually we record flat. What would you recommend for a voice like mine as far as settings? I may stop by to your studio for a session since I'm in NYC. my engineer picked up a Manley pre amp still using the same u87 mic and I'm excited to see how my vocals sound through there. Here's some of my most recent tracks.
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12th February 2013
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Best mic? I'd say get a Neumann, a U87 or TLM103 will almost never steer you wrong (in fact I can't think of a time that I recorded something with 1 that was unusable). AKG C414 works well too IME, but doesn't have that Neumann sound, which there's a lot to be said for.

A gentleman I worked with for a couple years when I first moved to the city made a great point, whats the point in getting all these crazy boutique microphones, preamps and oddball DAW's? Probably at least 75% of lead vocals on records you have heard and love were recorded on a Neumann, whats the point in getting a "insert 'hip' mic of the week"? 90% of the records you love were done in Pro Tools, whats the point in using "alternate 'hip' daw"? The more you try and cut corners or do oddball sh*t you're already starting behind the 8-ball.

TONS of records were done on a Neumann->Avalon->Pro Tools. Get a Pro Tools, a Neumann and an Avalon, that way if something isn't sitting right you at least know its not the gear, its YOU (which is OK! everyone has to start somewhere!)

*I actually prefer a Neumann->Neve->LA2A but my point is that you can't go wrong with anything that's a proven piece of gear*
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12th February 2013
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Quote:
Originally Posted by creative38 View Post
Yeah, thanks for the insightful response. I'm asking you from a rappers perspective. Asking because i've spent some money at lower tier basement studio's with lower tier equipment and I want to step it up, but by reading responses from people on gs ( just like you stated), everyone believes there's a certain mic for everyone's voice. Not to mention, people are stating there are certain Microphones that work and DONT work with pre-amps which makes things tougher. I feel like in the real world, musicians aren't as picky with combinations of mics and pre-amps. With all that said, I think you bring up a valid point, being that a musician is better off to just go straight into a studio with a proven engineer who owns high end equipment for them to realize where they stand in terms of sound.
In 17 years of recording professionally/commercially, I can probably count on ONE hand the number of mics I've used, and on the other ONE hand I can probably count the number of times a client asked me what mic and/or preamp I was using. All they cared about was the final product. As long as you're tracking in a decent room, a good engineer should be able to make it sound good regardless of the equipment used.
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Originally Posted by Studio507 View Post
Well, I recorded and mixed a good deal of it, i used a Neumann TLM103 through either a Amek 9098 into a Manley Elop or Avalon 737 to record. Hope that answers your question lol.

You recorded and mixed a good deal of what? Which album?
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Quote:
Originally Posted by JoeStrange View Post
You recorded and mixed a good deal of what? Which album?
Recorded

Recorded (co-mixed 3 songs): Debut, SH EP, Recorded & Mixed: On The House (Mixtape), several songs off Welcome 2 Our House (which I didn't get credit for unfortunately)

Mood Muzik 4, Mood Muzik 4.5, A Loose Quarter, No Love Lost

Street Hop, a few verses from Success Is Certain

a bunch of random stuff for Joell & Crooked

You and the team in Detroit did a great job on W2OH btw.
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12th February 2013
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Perhaps you could share the chain you used on the stuff out there?
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12th February 2013
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That sucks man, Sorry to hear that. I hate that shit, its a real kick in the nuts when you work on something then don't get credit for it. I know how it goes.

c800g>Original 1073 or 1089>737

I'm not sure what Alex was using over at Denaun's studio but for some reason I think it was a u87 with a chandler pre possibly?

It was crazy having sessions from all those different studios land in my lap. Everyone was recording some place different so once we had the beat multi tracks I then had to import the session data from each guys session and line each guy up before all four them were in the same session session together on a lot of those songs.

The songs they did here were easier cause they were all in the same studio together. I had a good time working on that record with those guys.
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12th February 2013
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^smh @ the lining up part, we did On The House in maybe 2 weeks? and I had 2 days to mix it...1 of which was downloading, lining up (sometimes they used 2 different versions of the same instrumental)...nightmare!

I'm surprised you chose the 737 strictly for the compressor section?

You guys did a great job with the additional production on W2OH, the final versions of those songs sounded QUITE different from the 2 tracks we were working on out here in NYC.

The credit thing I have to say i should have been following up on, but with the madness prior to release I kinda forgot...(we were doing the mixtape, Joe's Mixtape & album, and I also DJ for Joe) (just goes to show though, no matter how tight knit you are, you always gotta stay up on getting credits right!)
#22
12th February 2013
Old 12th February 2013
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Yup, Just using the compressor.

It just happened to be what was patched in when I started recording them and it sounded good so no need to fix something that aint broke
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