Ribbon for heavies. - Page 4

Brent Hahn · 22nd November 2008

Quote:

Originally Posted by DesertDawg

Because you're changing the pickup pattern of the mic when you do this - that's why it "is".

Yeah -- I get the basic cancellation principle. I've just always been surprised at how great the perceived difference in gain actually is.

weemies · 22nd November 2008

57 and 421 will definitely work for heavy tones, but I would suggest trying SM7 as well, jammed right up to the grill and centered to the dust cap. I've had some really nice results with it recently. AT4047 is another great choice - you can get some really nice and smooth tones with it because it emphasizes the low mids beautifully and isn't harsh at all.

Has anyone had any luck with Cascade Fat Head? I would appreciate any ideas.

Jim Williams · 22nd November 2008

Quote:

Originally Posted by Brad McGowan

By the way...I now understand why I read about CLA boosting +gazillion at 8k on guitar tracks he mixes. It's because people put mics right up on the grill but point them at the parts of the cone that are all bass and low mids.

Hey Jim--any tips for miking up a 2x12 or 4x12 cab from a couple feet away? I do agree you get the full sound of the cab and speaker but you also get strange interractions between the two speakers. It seems that there is a focal point, but sometimes it's hard to find. Any tips?

Brad

Just move the mic until you're pleased with the results. For me, usually it's a single mic, I start with a modified 414B and place it pointing to the center of a speaker cone, 2 feet back and tilted 10 degrees off axis. Then move it to taste. For 4x12's I sometimes will move it a bit further back to capture all the interaction of the speakers. Sometimes with single 12" speakers I'll place the condenser 6" back, but never closer. I don't like the clouds of low end bumps from proximity effect. Somehow adding + 6 to 12 db at 110 hz never seems to work for me on electric or acoustic guitars. Switch to omni, and that problem goes away. But then you get to deal with back room leakage. A large dead room works best for me if that's done. Another reason I don't use dynamics or ribbons on guitars is I want them to sound right without any EQ. To add 8k is counter productive when you can just capture the right amount of that with mic selection and positioning.

Jim Williams
Audio Upgrades

Brad McGowan · 22nd November 2008

Thanks for the tip. I used to use a U195 as you are describing, but over the years gravitated away from it. Perhaps I should give it a try again.

Someone asked about the Fathead. I know a lot of people like them on guitars. I own R121's and always feel the Fathead falls short of that benchmark. However, I just have the stock version. I heard some sound clips not too long ago comparing the Fathead with different transformers and I must say that the Lundahl transformer really made a nice difference in the tones I heard. I have a feeling if I had the upgraded version of the mic I would have different thoughts on the matter. But other than that the Fathead is a totally cool mic and I find lots of uses for it...especially as a drum room mic.

Brad

janek 68 · 25th November 2008

SE Ribbon.
Listen....

keiffer · 26th November 2008

probably a bit late for this discussion but here's a fairly heavy R84 (+ side) mic clip with my Dorado.

dubrichie · 26th November 2008

Quote:

Originally Posted by Jim Williams

Bottom line, it's the players call. Not mine. Especially if he's paying the bill.
Somehow when a guy spends $$$ and time on his craft, I don't feel right tossing out his opinion and trying to convince them I'm a better judge of his sound than he is.

Jim Williams
Audio Upgrades

but if he's paying me to make him sound better than he can himself, strictly tone, playing aside...

... since i'm recording him in my room, through my mics and my gear, i might actually be a better judge after all...

... maybe...

keiffer · 30th November 2008

Here's my Elmwood M90 (clean and heavy) miced by a R84 pair in a Blumlein config over aussenjam93 backing track.

R84 Blumlein Config

I start out with the volume rolled down for a clean, then shortly roll the volume up and note the clean rhythm on the right side throughout is part of the original backing track.

Steffmo · 30th November 2008

I've seen a lot of big uys do a 58 or 421 on one side of the cone and a 414 in the other. worked for them. But that was late 80's normal tuning era.

I've done a lot of stuff with a 57 or 15 to the outside of the cone, and a D12 near the center. The D12 fills in the low nicely.

22nd November 2008	#94
Brad McGowan Lives for gear Join Date: Jan 2003 Location: San Jose, CA Posts: 5,525	Thanks for the tip. I used to use a U195 as you are describing, but over the years gravitated away from it. Perhaps I should give it a try again. Someone asked about the Fathead. I know a lot of people like them on guitars. I own R121's and always feel the Fathead falls short of that benchmark. However, I just have the stock version. I heard some sound clips not too long ago comparing the Fathead with different transformers and I must say that the Lundahl transformer really made a nice difference in the tones I heard. I have a feeling if I had the upgraded version of the mic I would have different thoughts on the matter. But other than that the Fathead is a totally cool mic and I find lots of uses for it...especially as a drum room mic. Brad __________________ plotagainstrachel.bandcamp.com Little Red Wagon Studios How to integrate your analog tape deck with your DAW: http://www.youtube.com/watch?v=bswx5...eature=channel

26th November 2008	#96
keiffer Gear addict Join Date: Jan 2004 Location: Clemson Posts: 317	probably a bit late for this discussion but here's a fairly heavy R84 (+ side) mic clip with my Dorado. __________________ SLO-Fun with Toad the Wet Sprocket M90-Tribute to a great Dual Rect-All around fun Others...

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22nd November 2008	#92
weemies Gear nut Join Date: Sep 2006 Posts: 120	57 and 421 will definitely work for heavy tones, but I would suggest trying SM7 as well, jammed right up to the grill and centered to the dust cap. I've had some really nice results with it recently. AT4047 is another great choice - you can get some really nice and smooth tones with it because it emphasizes the low mids beautifully and isn't harsh at all. Has anyone had any luck with Cascade Fat Head? I would appreciate any ideas.

30th November 2008	#98
keiffer Gear addict Join Date: Jan 2004 Location: Clemson Posts: 317	Here's my Elmwood M90 (clean and heavy) miced by a R84 pair in a Blumlein config over aussenjam93 backing track. R84 Blumlein Config I start out with the volume rolled down for a clean, then shortly roll the volume up and note the clean rhythm on the right side throughout is part of the original backing track.

30th November 2008	#99
Steffmo Lives for gear Join Date: Sep 2004 Location: West Haven, CT Posts: 3,012	I've seen a lot of big uys do a 58 or 421 on one side of the cone and a 414 in the other. worked for them. But that was late 80's normal tuning era. I've done a lot of stuff with a 57 or 15 to the outside of the cone, and a D12 near the center. The D12 fills in the low nicely.