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Who's got this redd mic and how are they feeling about it.
Old 11th February 2017
  #1
Who's got this redd mic and how are they feeling about it.

I wanna hear it all. Excitement, regret and any other feelings that come with a purchase like this one but maybe more importantly samples.
Old 16th February 2017
  #2
Lives for gear
 
Overdrive's Avatar
 

I have one here. So far so good for a first day vox recording. Headroom for miles, very detailed.
I am happy and that cool light from under the capsule...
Old 18th February 2017
  #3
That's cool! Congrats. Any more comments after a second day? What kind of Vox are you recording?
Old 18th February 2017
  #4
Gear Guru
 
RoundBadge's Avatar
I got one a couple days ago.
frigging love it.
Old 22nd February 2017 | Show parent
  #5
Quote:
Originally Posted by RoundBadge View Post
I got one a couple days ago.
frigging love it.
What sources have you tried it on?
Old 22nd February 2017 | Show parent
  #6
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Bryanjharris View Post
What sources have you tried it on?
drums guitars vocals.
beat the tar out of bock 407 as front mono kit mic.
Old 22nd February 2017
  #7
No regrets. Eventually buying a second
Old 23rd February 2017
  #8
Gear Guru
 
Drumsound's Avatar
I'm confused by why a professional studio would want a mic where the controls are at the microphone. When I have a player checking sounds, I don't want to get on the talkback and say, "Can you turn up the mic gain, please?" or worse, "Can you flip the polarity, please?" "What?" "The switch with the zero with a slash through it" "Where is that?" etc etc.
Old 23rd February 2017
  #9
How does the preamp work out? Are you running it into anything else or just straight to your conversion?
Old 23rd February 2017 | Show parent
  #10
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Drumsound View Post
I'm confused by why a professional studio would want a mic where the controls are at the microphone. When I have a player checking sounds, I don't want to get on the talkback and say, "Can you turn up the mic gain, please?" or worse, "Can you flip the polarity, please?" "What?" "The switch with the zero with a slash through it" "Where is that?" etc etc.
It's a unique design in that the main gain stage is built into the mic.as is other standard stuff..pad,pattern which you gotta Yes access at the mic to adjust anyways.
The output fader is on the psu.
Ive got no problems with it.
Old 23rd February 2017 | Show parent
  #11
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Bryanjharris View Post
How does the preamp work out? Are you running it into anything else or just straight to your conversion?
Initial tryouts been going direct,or into a comp.
Gonna run it into a Redd 47 preamp for some saturation.
Got old API,neve eq's ,pultecs to spice things up if needed.
Still experimenting
Old 23rd February 2017 | Show parent
  #12
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by RoundBadge View Post
It's a unique design in that the main gain stage is built into the mic.as is other standard stuff..pad,pattern which you gotta Yes access at the mic to adjust anyways.
The output fader is on the psu.
Ive got no problems with it.
That just seems like a terrible, time consuming, and counterintuitive design. I want to be in front of my speakers when I make changes, not running out to wherever the mic is, making an adjustment, and going back to the control room to hear the changes. And paying five grand for the inconvenience makes the design more ridiculous to me.
Old 23rd February 2017 | Show parent
  #13
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Drumsound View Post
That just seems like a terrible, time consuming, and counterintuitive design. I want to be in front of my speakers when I make changes, not running out to wherever the mic is, making an adjustment, and going back to the control room to hear the changes. And paying five grand for the inconvenience makes the design more ridiculous to me.
Ok.to each his own.
I'm loving it and it hasn't been a problem at all.
Old 23rd February 2017 | Show parent
  #14
Quote:
Originally Posted by Drumsound View Post
That just seems like a terrible, time consuming, and counterintuitive design. I want to be in front of my speakers when I make changes, not running out to wherever the mic is, making an adjustment, and going back to the control room to hear the changes. And paying five grand for the inconvenience makes the design more ridiculous to me.

One thought behind all this that I have seen was that it makes less space between the mic and preamp so they can control the copper quality and have less potential for poor quality cabling or different kinds of cabling affecting the sound. Who knows. Either way people seem to think it's worth checking out based on sonics which matters more than slightly annoying features.
Old 23rd February 2017
  #15
Gear Guru
 
Drumsound's Avatar
I'm not disputing the sound, or I should say the opinions of those who've used the mic.
Old 23rd February 2017 | Show parent
  #16
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hasbeen's Avatar
Quote:
Originally Posted by Drumsound View Post
That just seems like a terrible, time consuming, and counterintuitive design. I want to be in front of my speakers when I make changes, not running out to wherever the mic is, making an adjustment, and going back to the control room to hear the changes. And paying five grand for the inconvenience makes the design more ridiculous to me.
Interesting. But I need some clarification.

I spend time moving a microphone around at the source to get the best sound. I use in ears with muffs over them so I know what's happening without running to the control room after each move.

Do you usually just set the mic and then try and get the desired sound from the preamp or EQ instead of using this method?

Old 23rd February 2017 | Show parent
  #17
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Drumsound View Post
I'm not disputing the sound, or I should say the opinions of those who've used the mic.
copy that.no worries.my home studio space is kinda an all in one tracking mixing deal so its been painless to make adjustments.usually just get a level,done.the output fader on the psu is next to all my other mic pres... and we're off to the races.
Eric Valentine is a big fan of setting racked pre's in the room then running line level back to the recorder.having an assistant is nice for that
diff strokes of course.
Old 23rd February 2017 | Show parent
  #18
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by hasbeen View Post
Interesting. But I need some clarification.

I spend time moving a microphone around at the source to get the best sound. I use in ears with muffs over them so I know what's happening without running to the control room after each move.

Do you usually just set the mic and then try and get the desired sound from the preamp or EQ instead of using this method?

I spend a lot of time moving the mics too.texture and phase relationships etc
...that's basically the eq.
Old 23rd February 2017 | Show parent
  #19
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Bryanjharris View Post
One thought behind all this that I have seen was that it makes less space between the mic and preamp so they can control the copper quality and have less potential for poor quality cabling or different kinds of cabling affecting the sound. Who knows. Either way people seem to think it's worth checking out based on sonics which matters more than slightly annoying features.
great capsule straight to great tube circuit.minimal clean path.
works for me.
Old 23rd February 2017
  #20
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by hasbeen View Post
Interesting. But I need some clarification.

I spend time moving a microphone around at the source to get the best sound. I use in ears with muffs over them so I know what's happening without running to the control room after each move.

Do you usually just set the mic and then try and get the desired sound from the preamp or EQ instead of using this method?

I honestly don't spend a ton of time moving mics around to find the perfect spot. Partially because I don't believe in perfect, partially because there are often a group of people waiting for me to get things done, so I'm think of of expediency. I don't have isolation phones, and maybe if I did I would do that more (maybe not). I have go to placements, so usually I'm pretty happy from the get go. I also know what each different thing can do. I understand how moving a mic changes the sound, how EQ changes the sound, how compression changes the sound, and how a different mic will change the sound. If I move a mic twice and am still not happy, I swap it out. Yes this does take time, and I hate that, but sometimes its a necessity. If its sometime simple like "that sounds a little dull, but still close" a little top EQ and we're off an running. If I'm working with an ensemble, I want to make a lot of my adjustments and decisions with the group playing. Its often just more prudent to do something control room based, like patch a compressor or maybe add or EQ.

There was an interview in Mix many years back (I think with JJP, but I could be wrong) talking about working with one of the masters (one of the Johns brothers I believe). As the young engineer the subject said he spent a good amount of time finding the perfect spot to mic an amp. He brought the master out to see his brilliance, and the master kicked the mic over and said, put it somewhere and come to the control room. I took that as a lesson is simplicity and as a warning to not let things be too precious.

Quote:
Originally Posted by RoundBadge View Post
copy that.no worries.my home studio space is kinda an all in one tracking mixing deal so its been painless to make adjustments.usually just get a level,done.the output fader on the psu is next to all my other mic pres... and we're off to the races.
Eric Valentine is a big fan of setting racked pre's in the room then running line level back to the recorder.having an assistant is nice for that
diff strokes of course.
Ah... If I were working in a room like that, I would have a very different perspective. Its two doors just to get out of my control room. If something or someone is i the booth, thats two more doors. And my space is kind of tight when filled with players, so there's the dance around the band that has to happen...
Old 24th February 2017 | Show parent
  #21
Lives for gear
 
andersmv's Avatar
 

Quote:
Originally Posted by Drumsound View Post
That just seems like a terrible, time consuming, and counterintuitive design. I want to be in front of my speakers when I make changes, not running out to wherever the mic is, making an adjustment, and going back to the control room to hear the changes. And paying five grand for the inconvenience makes the design more ridiculous to me.
It's a different design that's obviously not going to work for some people. Your reasons make sense to me, it's going to screw with your work flow. Not everyone is like that though, I know it's not something I would be too worried about. I would make sure I messed around with it for a few days before doing a big sessions with it (like any piece of gear), especially if I'm using it as a drum overhead or somewhere it would be out of reach.

I just know that after working with a lot of go to signal chains, I've memorized where the preamp needs to be set on different sources. I'm sure after messing with the chandler for a few days that I would know where to set the gain on the mic for different sources to where I'm not going back and forth. Again (in regards to workflow), if I know I'm doing a session where we're all going to be rushed, I have stuff I know is going to work and I can set quickly. Not all of my gear is going to work for me in those situations.

Quote:
Originally Posted by RoundBadge View Post
I got one a couple days ago.
frigging love it.
I can't find any information on the weight of the mic, how heavy is it? I've got a friend that's about to buy one and I just recommended that he buy a Latch Lake 1100 with it to be safe (He doesn't have any mics right now that are bulky or heavy, so all he's got is some K&M stands). He's not a huge gear head and is bitching about $300 for a mic stand, but pointing out that it's like 0.05% the price of the mic made more sense to him. Just looking at the size of it, I wouldn't trust a K&M to hold it in place even for something simple like acoustic guitar.
Old 24th February 2017 | Show parent
  #22
Gear Addict
 
Dan Popp's Avatar
Quote:
Originally Posted by Bryanjharris View Post
One thought behind all this that I have seen was that it makes less space between the mic and preamp so they can control the copper quality and have less potential for poor quality cabling or different kinds of cabling affecting the sound.
Those poor bastards. They could have come to GS, where there would have learned indisputably that the cable cannot possibly affect the sound.
Old 24th February 2017 | Show parent
  #23
Lives for gear
 
pentagon's Avatar
 

Quote:
Originally Posted by andersmv View Post
I can't find any information on the weight of the mic, how heavy is it?
Specs:

10.97(L) x 2.46(W) in
(278.64 x 62.48 mm)

1.11 lb / 0.504 kg

Last edited by pentagon; 24th February 2017 at 05:37 AM..
Old 24th February 2017
  #24
Lives for gear
 
adam_f's Avatar
FWIW, I'd posted this in the other threads.

MONO MALE VCL/AC GTR

This track - "Time Never Moves Slower," written and performed by singer songwriter Ben Danaher, was recorded using the Chandler Limited EMI / Abbey Road Studios REDD Microphone, in mono, simultaneous vocal and guitar performance, captured directly into Pro Tools at Ryan Hewitt's house of Blues Studio C, in Nashville TN.

The performance was captured with the REDD Microphone placed three feet from the artist, and pointed at the artist's chest.

Microphone Settings

Mode: Drive
Gain: +27db
Pattern: Cardioid
Voicing: Standard
Output: Unity

UAD EMT 140 plate reverb added for ambience

Old 24th February 2017 | Show parent
  #25
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by andersmv View Post
It's a different design that's obviously not going to work for some people. Your reasons make sense to me, it's going to screw with your work flow. Not everyone is like that though, I know it's not something I would be too worried about. I would make sure I messed around with it for a few days before doing a big sessions with it (like any piece of gear), especially if I'm using it as a drum overhead or somewhere it would be out of reach.

I just know that after working with a lot of go to signal chains, I've memorized where the preamp needs to be set on different sources. I'm sure after messing with the chandler for a few days that I would know where to set the gain on the mic for different sources to where I'm not going back and forth. Again (in regards to workflow), if I know I'm doing a session where we're all going to be rushed, I have stuff I know is going to work and I can set quickly. Not all of my gear is going to work for me in those situations.



I can't find any information on the weight of the mic, how heavy is it? I've got a friend that's about to buy one and I just recommended that he buy a Latch Lake 1100 with it to be safe (He doesn't have any mics right now that are bulky or heavy, so all he's got is some K&M stands). He's not a huge gear head and is bitching about $300 for a mic stand, but pointing out that it's like 0.05% the price of the mic made more sense to him. Just looking at the size of it, I wouldn't trust a K&M to hold it in place even for something simple like acoustic guitar.
Not too heavy
A little lighter than a u47
Regular stand is fine
Old 24th February 2017 | Show parent
  #26
Lives for gear
 
andersmv's Avatar
 

Quote:
Originally Posted by pentagon View Post
Specs:

10.97(L) x 2.46(W) in
(278.64 x 62.48 mm)

1.11 lb / 0.504 kg
Really? It looks a lot heavier than that. My Blue Kiwi is almost twice that weight.

Quote:
Originally Posted by RoundBadge View Post
Not too heavy
A little lighter than a u47
Regular stand is fine
Good to know!
Old 24th February 2017
  #27
Gear Addict
 
Peter Stengaard's Avatar
 

I have one ! Sounds really great. Top end is beautiful like a 251 and there's more weight in the lows and low mids and you get a fantastic preamp for free basically. Total win
Old 24th February 2017 | Show parent
  #28
Lives for gear
 
pentagon's Avatar
 

Quote:
Originally Posted by andersmv View Post
Really? It looks a lot heavier than that. My Blue Kiwi is almost twice that weight.
Those numbers are directly from Chandler Ltd.
http://chandlerlimited.com/wp-conten...ual_123116.pdf
Page 9
Old 24th February 2017
  #29
This is all very interesting to me. Love hearing the sample posted. Any more of those floating around?
Old 24th February 2017 | Show parent
  #30
Lives for gear
 
andersmv's Avatar
 

Quote:
Originally Posted by pentagon View Post
Those numbers are directly from Chandler Ltd.
http://chandlerlimited.com/wp-conten...ual_123116.pdf
Page 9
I believe you. Again, just very surprised considering there's a preamp in there as well!
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