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U47 FET or Similar for Main Orchestral Pair
Old 3 weeks ago
  #31
Gear Maniac
 
kludgeaudio's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
no one in the (real) world can hear what gear was used upon listening to a full mix!
The more complex the mix is, the more that is the case. With a simple two-microphone minimalist recording it's often not. Add a few spots and sectional mikes in and it quickly becomes very true.
--scott
Old 3 weeks ago
  #32
Gear Maniac
 
kludgeaudio's Avatar
 

Quote:
Originally Posted by JCBigler View Post
Also, I will add to the thread that I love the TLM170Rs as a main pair for orchestral recording. And in a previous thread, it was suggested here that a pair of TLM107s would be an acceptable budget level substitute. I haven't had a chance to pick up a pair and try them out, but I am really itching to. But my wife would kill me, considering there's no work happening right now, and we don't know when there will be.
You might try Gefell UMT70s also. Not my thing, but I suspect you'll like them.
Old 3 weeks ago
  #33
Lives for gear
 

Quote:
Originally Posted by kludgeaudio View Post
The more complex the mix is, the more that is the case. With a simple two-microphone minimalist recording it's often not. Add a few spots and sectional mikes in and it quickly becomes very true.
--scott
...not even then, unless you are referring to a/b listening comparisons; but upon hearing a recording/'mix' from an unspecified venue and without being given any information, one can may make an educated guess on the mic technique but not on the brand or type of mics, no way (assuming pro gear was used)! same for preamps, converters... - i'm with you that adding just a few more mics makes things even MORE difficult to tell.

years ago, one of my students tricked a manufacturer into believeing that a recording he sent in (as part of a competition to win some of their gear) was done with their mics while in fact he used whatever pair was available from the university's electronic department: he won nevertheless and then confessed his misbehaviour - best of all, the manufacturer was generous enough to grant clemency before justice!
Old 3 weeks ago
  #34
I re-read the original post. You already have plenty of really good mics. I could make a good orchestra recording with only what you have (assuming they are pairs). I suggest you go try that, then come back and report. Right now you're trying to make decisions based on how your mics sound doing something entirely different. It's a useless exercise. Go make a real orchestra recording and we'll proceed from there.

David
Old 3 weeks ago
  #35
Quote:
Originally Posted by David Rick View Post
I re-read the original post. You already have plenty of really good mics. I could make a good orchestra recording with only what you have (assuming they are pairs). I suggest you go try that, then come back and report. Right now you're trying to make decisions based on how your mics sound doing something entirely different. It's a useless exercise. Go make a real orchestra recording and we'll proceed from there.

David
That’s fair. I’m unable to leave the house and no one is playing right now, so I was just doing my research. That said, I pulled the trigger on an M149 to try out.
Old 3 weeks ago
  #36
The M149 is a fine microphone, regardless. I've thought about buying one on several occasions and only refrained out of concern that many of my clients were not good enough singers to withstand the scrutiny! If I were doing more jazz work, I'd have bought one in an instant.
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