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Production Homework Assignment: HELP :( Condenser Microphones
Old 12th September 2011
  #1
Here for the gear
 

Production Homework Assignment: HELP :(

Hi all,

This is my first post as I'm an ultra-newbie..

I'm just looking for opinions on mic choices to match up the below mentioned mics and instruments for a studio recording.

I've been researching and have listed what I'm supposing below, but not sure I'm on the right track.. A little advice or some web links would be much appreciated.

Microphones:
(1) Neumann U47 FET
(1) Neumann TLM 170
(1) AKG C 414
(3) AKG C 415 B
(1) Shure SM57
(1) Shure SM58
(2) Sennheiser MD421
(2) Rode NT1
(1) Rode NT2
(1) Crown PZM

Instruments:
Drums - Gretsch kit with 18" kick, snare, hi-hat, two rack toms, floor tom, ride and splash cymbals
Upright acoustic bass
Gibson ES-175 with Fender Jazz King amp
Piano Synth (stereo line out)
Tenor Sax
Clarinet
Trumpet
Female Vox (deep, warm)

Gear
(4) DI boxes
(2) EQ units
(2) compressor units
(1) reverb unit.

--------------------------------------------------------------------------------

So far this is what I've have arrived at:

Vox - SM58

Kick - MD421

Snare - SM57

Toms - AKG C 451 B

Trumpet - Neumann - u-47 FET

Tenor Sax - Neumann - TLM 170

Overheads - both Rode NT1

Synth - 2x DI (L) (R)

Crown PZM - Room mic
Old 12th September 2011
  #2
Here for the gear
 
Hiding Jeckyl's Avatar
 

Quote:
Originally Posted by ichimitch View Post
Hi all,

This is my first post as I'm an ultra-newbie..

I'm just looking for opinions on mic choices to match up the below mentioned mics and instruments for a studio recording.

I've been researching and have listed what I'm supposing below, but not sure I'm on the right track.. A little advice or some web links would be much appreciated.

Microphones:
(1) Neumann U47 FET
(1) Neumann TLM 170
(1) AKG C 414
(3) AKG C 415 B
(1) Shure SM57
(1) Shure SM58
(2) Sennheiser MD421
(2) Rode NT1
(1) Rode NT2
(1) Crown PZM

Instruments:
Drums - Gretsch kit with 18" kick, snare, hi-hat, two rack toms, floor tom, ride and splash cymbals
Upright acoustic bass
Gibson ES-175 with Fender Jazz King amp
Piano Synth (stereo line out)
Tenor Sax
Clarinet
Trumpet
Female Vox (deep, warm)

Gear
(4) DI boxes
(2) EQ units
(2) compressor units
(1) reverb unit.

--------------------------------------------------------------------------------

So far this is what I've have arrived at:

Vox - SM58

Kick - MD421

Snare - SM57

Toms - AKG C 451 B

Trumpet - Neumann - u-47 FET

Tenor Sax - Neumann - TLM 170

Overheads - both Rode NT1

Synth - 2x DI (L) (R)

Crown PZM - Room mic
JMC huh?

The u47 would be good on the sax.
I'm not too sure about using the 58 for warm vocals, a condenser might be a better option, maybe a nt1.
If it's a jazz band just keep it simple for drums, kick snare and overhead max. No need for anything more really. I'd go a 421 on the bass and maybe guitar.

Some guys on here know alot more than me but I hope this is of some help.
Old 13th September 2011
  #3
Here for the gear
 

Quote:
Originally Posted by Hiding Jeckyl View Post
JMC huh?

The u47 would be good on the sax.
I'm not too sure about using the 58 for warm vocals, a condenser might be a better option, maybe a nt1.
If it's a jazz band just keep it simple for drums, kick snare and overhead max. No need for anything more really. I'd go a 421 on the bass and maybe guitar.

Some guys on here know alot more than me but I hope this is of some help.
Yeah 'tis JMC, I'm not doing so well because I'm juggling night shift work and study.. Have just told my boss I want out though, so I can focus on study. Then I'll have a lot more time to do all the recommended reading etc.

Thanks for you input, especially regarding the drum kit. That is helpful
Old 13th September 2011
  #4
Lives for gear
 
johnnyv's Avatar
SM 58 is a great ( boring) live mike because it's indestructible and rejects feedback. It would not be used in a studio for vocals, only live sound. Beta's are better they have a little more presence but once again best for live use. Most studios use a large diaphram condensers for vocals.
SM 57's do work on snares and guitar cabs but then lot's of other mikes might sound better in certain situations. A lot depends on the room being used. Directional mikes work when you don't want the room sound and use close miking, condensers or omni's work when you want more air or room.

Mike technique is a whole book at best.
Old 13th September 2011
  #5
Gear Head
 
Jonathan_H's Avatar
 

Quote:
Originally Posted by johnnyv View Post
SM 58 is a great ( boring) live mike because it's indestructible and rejects feedback. It would not be used in a studio for vocals, only live sound. Beta's are better they have a little more presence but once again best for live use. Most studios use a large diaphram condensers for vocals.
Going to have to chime in and disagree with you there. While what you say regarding their use in a live situation is true, and the mic does benefit from rejecting feed backing and being almost indestructible, completely ruling them out of studio use is ridiculous and again it comes down to the question of what is the source.

If you've got a female vocalist and you want a nice warm vocal sound, yes the 58 wouldn't be the best choice. If however your recording a screamo/heavy metal band why not use a 58 or at least keep it as an option. I've used a 58 with great results in a situation with a screamo band as well as using it as the main vocal mic on a rapper that I was recording for a hiphop/pop band. Worked wonders both times and most importantly sounded great.

I think the most important thing to remember is to not dismiss a piece of equipment just because it is perceived as a cheap bit of gear or only best in a certain role. If it suits the source and sounds great why not use it?
Old 13th September 2011
  #6
Lives for gear
 

u47 = tenor sax

Only wish I had the dough for one.

Then again the MD421 has been a staple for live and recording tenors for decades and I do use one for that....
Tenor sax is very similar to a low male voice and works with any decent vocal mic for the lower range.
Old 13th September 2011
  #7
meh, I'd use the 47 on the kick or upright before the sax. Probably the 421s on the tenor and trumpet to tame the shrillness from close micing. You don't specify but it sounds like you are doing a jazz gig. Is everyone in the same room? Mike and instrument placement is what will determine how this sounds, if you aren't isolating anything I'd go dynamics on just about everything and try to baffle the amps at least and have the singer in the hallway or something for at least *some* isolation and I'd probably give her the 414 in cardioid and try and balance the 'plosives when she eats that mic for the intimate breathy sound. Your biggest problem will be upright bass and cymbal wash if everyone is together. If they are all truly jamming live then I would probably be tempted to have them ditch headphones and have the piano player go through an amp but that's how I roll. As the engineer you should be doing everything in your power to make the experience comfortable for the musicians so they can really stretch out their playing to the best they can. The rest almost takes care of itself.
Old 14th September 2011
  #8
Here for the gear
 

Thanks for the input everyone.

Personally I think our class should be doing this exact prac at the same time as the theory... Seems pointless to try to put this on paper without learning by doing at the same time.

Anyway, you've given me much to think about. Thanks
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