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What mic for untreated room?
Old 3 weeks ago
  #31
Gear Guru
 
Brent Hahn's Avatar
Quote:
Originally Posted by ece79 View Post
My room is full of dvds and shelves, gear but no sound proofing at all.
To a degree, clutter = treatment. Take a look at a bunch of Tiny Desk videos and you can see the direct correlation between the amount of random crap and the sound quality. My wife has a storeroom/workspace for her jewelry business that's one step short of total hoarder, and I make nice recordings in there. Even on my phone.

Last edited by Brent Hahn; 3 weeks ago at 12:56 AM..
Old 3 weeks ago
  #32
Lives for gear
 

Quote:
Originally Posted by hekho View Post
I know the problem quite well.
First of all, in my case acoustic treatment is not an option. My wife already cringe at the sight of my guitars, amps, mic stand, etc. If I bring a bass trap on top of that, I get a divorce note in a minute.

So I can offer some workaround here:

-Electro-voice RE20: you can get as closed as you want from this mic, it sounds good and take EQ well.
-Alternative is SM7B which is slightly better than the SM57 for vocal

But my secret weapon is the Superlux S241. It sounds great on my voice (at least) and work better than any other mic I have. In general SDCs seems to reject room ambiance better than LDC, they have a better "focus" if I may say. So Beyerdynamic MC930 works well too. I find the Audio-Technica AT4033 or the hand-held version (AE3300) works well too. It looks like a LDC but it's a small diaphragme capsule inside.

I also have the the Zoom H6, I find the XY mic not bad but too noisy. The zoom H6 preamps are too noisy in general. But the good thing is: you can walk on every part of your home with your H6 and test the acoustic. That's what I did and to my surprise, the winner was one of the smallest and square-ish room in my flat. And it worked the best when I track close to the wall. So it's just the opposite of everything I read about room acoustic. Really let you ears be the judge here.

Final word, the TLM102 didn't work for me at all. Too bland somehow. Might work for you though, but it picks up the room too much as all my LDC do.

Hope it helps.
I also have a Zoom H6 for remote recording. Never thought of walking around with it to hear the room like that. Great idea.
Old 3 weeks ago
  #33
Gear Guru
 
Brent Hahn's Avatar
Quote:
Originally Posted by sirjuxtable View Post
I also have a Zoom H6 for remote recording. Never thought of walking around with it to hear the room like that. Great idea.
That's a good way to start, but after you've done it a bit you'll (generally) be able to just walk into a space and tell. You won't need the recorder. I say generally because sometimes the magic isn't obvious, at least not to me. Sound City was one of those.

Last edited by Brent Hahn; 3 weeks ago at 01:28 AM..
Old 3 weeks ago
  #34
Gear Head
Great music, enjoyed the couple songs I listened to. I think the isk ICDM would work very well on your vocals by giving them some weight without compromising the top end.

Here's a song I recorded with the isk ICDM (vocals and guitar) in a not so great room: https://soundcloud.com/foodproduct/h.../s-9B6GzFJhesP

Not to my taste on guitar but was fun to experiment. Really useful in the studio on vocals for bright yet rich character, especially when you want less of the room and more of the source. I spent $25 USD on it and have 4 that I use on stage frequently, but also a very studio friendly mic.
Old 3 weeks ago
  #35
Gear Maniac
 
kludgeaudio's Avatar
 

Quote:
Originally Posted by Russell Dawkins View Post
An old Beyerdynamic M500 has the greatest ambient rejection I've encountered. They were manufactured 1969-1990 or so.

As to sound, I believe Crosby Stills and Nash used them on tour back in the day.

I had a pair given to me and when I first used them on a vocalist in front of a small band when that track was soloed it sounded almost like the singer was in an isolation booth.
The M500 was marvelous that way, and the modern Beyer TG v90r is similar. However, the 441 is like that too, as is the Neumann MKH105.

If you like the way the U87 sounds on-axis, bright and forward and pulling the vocal way to the front of the mix, the MKH105 does the same thing for a fraction of the price and with much better rejection. That forwardness is sometimes more of a problem than a help, though.
--scott
Old 3 weeks ago
  #36
Lives for gear
 

There is no magic microphone that can omit the sounds you don't want. Any microphone is going to hear the same thing if it's diaphragm is in the same location, subject to it's frequency response and polar pattern, so those are the main variables you should consider. If you have a car (or access to one) they make pretty good vocal booths.
Old 3 weeks ago
  #37
Here for the gear
 

Not an expert by any means, but I went with an AKG C7 for my untreated Bedroom, made the most sense because of its characteristics (super-cardioid condenser, concepted for the low budget market for live purposes while (as AKG claims) maintaining studio quality). Around a 190 Bucks.
Old 3 weeks ago
  #38
Lives for gear
 
DirkP's Avatar
There is a reason hypercardioid dynamic mics are used on stages - that are not exactly acoustic treated - and not LDCs. Those isolation filters or vocal booths on mic-stands solve some problems, but definetely cause other ones. I have a TLM 103 and love it, but I prefer good dynamics like the Sennheiser E945 in not-treated rooms. Dynamic mics are less sensitive to room acoustics, esp. hypercardioid ones, at least this is my experience.

I own the H6, too. I don't find the mic-preamps noisy. They are not on par with high-end preamps, but for 300,- the H6 is very good. Did you try the M/S in mono mode for singing? I was really surprised how good it is. Never really liked the XY-capsule.

I'm a gearslut, too. But you might regret it, to invest into an expensive LDC. As I said, I never understood the dissing of the TLM103. But part of the quality of such mics is their sensitivity to the room.

Our brain isn't fast enough to interprete early reflections as reverb or delay. It mixes them with the original signal - your voice - and this makes it sound undefined and mushy.


On edit: large diaphragm dynamic mics might be a good compromise, like the Shure SM7B, the Heil PR40 and other similar designs.

Last edited by DirkP; 3 weeks ago at 01:45 AM..
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