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Old 17th October 2014
  #68
Lives for gear
 

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Originally Posted by joeq View Post
the producer IS "the client". It is "his dime". If he wants to spend an hour deciding on the microphone that will be used to record the most important instrument on the entire project, that's not only his right, it could be viewed as his responsibility. Should he just flip a coin, or allow the engineer to pick HIS "favorite"? Should he go to a dinky little home studio that has only ONE vocal mic?
You are right, but it does underscore why experienced producers and tend to work with engineers whose judgement they trust.

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And all I was saying is that if engineers "don't need" to do these shootouts on any given day, it's only because they have already done them enough times to "know" their mics.
Exactly.

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And again I would not underestimate the psychological value of feeling confident that you have covered all the bases and there is not a "more appropriate" mic somewhere that you "should" be using.
In that case why stop at 12...why not try 112?

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Hell, for Bruce Springsteen's Born to Run album, I read they spent 3 days choosing the snare drum/mic combination. 3 days! Then again, considering that that backbeat (wham!) occurred about once every two seconds for the entire 42 and a half minutes running time of the record, and considering what a massive hit that record was, and considering what it did for Springsteen's career, who can say for certain it was "wasted" time?
Did they ensure that the drummer hit the snare in exactly the best place and at the right pressure those 1,260 times? Or did they correct every mis-hit?

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Who can say for certain that the specific snare sound was not contributory to the record's success?
I agree that every sound on the record is important, but I would bet my left nut that if the only thing that changed on this record was the sound of the snare it would not affect its success!