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Old 18th May 2017
  #14
Gear Nut
 

I think I wouldn't choose a flat mic because i'm gonna have to EQ the **** out of everything even more than you would without choosing a flat mic. When you're miking **** up, you're trying to get it to sound in the ballpark of how the record would sound. This is also why we position mics in certain ways and whatnot.

Let's use drum overheads as an example. If you know you're going for something darker on overheads, then why choose a mic that's flat as possible? In this case, maybe you'd opt for ribbon mics, where the top end sort of rolls off nicely. Maybe you want something with very articulated highs.. Small cap condensers would be a step in the right direction, for sure.



Maybe you're doing a rock kind of band, and you want a really clicky kick in mic that can also support some bottom in tandem with a kick out mic.. I'd probably choose a D6, which has some scooped midrange. And kicks have a ****load of midrange. But I'd choose a mic far from flat, because it's already somewhat "eq'd" to be closer to what I imagine the final sounds will sound like.

Accuracy of sound definitely isn't what everyone's after, for the exact same reason why people still love analog outboard gear, tape, or even plugins that emulate those things.

Distortingjack's posts here are interesting, and honestly, i haven't tried using very flat mics (Earthworks comes to mind when i think of super flat mics) to do any recording. For a room test once, yeah. I imagine they might be really badass room mics or overheads, but only if the room and cymbals are pleasing.

I'm rather inexperienced/still a novice, and I have a pair of sE condensers that have a very flat looking chart. How do they sound? Not so great. Probably for reasons beyond the flat frequency response (which may hardly matter when you realize that, as distortingjack has suggested, the chart might not actually be 100% accurate).