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Old 7th April 2019
  #9
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Quote:
Originally Posted by ZEF View Post
yeah I get the SM7 success with Thriller and the success builds everything up, and people can hear it and say that's a SM7!
etc.. but had it been a Heil PR40 the same thing would have happened.
like chicken or the egg, which came first the success or the gear?

then after all the fuss you realize the common sound is a smashed saturated album rock sound with saturation maximus or at least minimus etc.,.etc..
even the top pro gear tracks, gets slapped with plugins and tweaking before its over, so what is left of the original mic sound?

does anyone discuss the SM7 Thriller ...chain?

Adeles even bigger hit has the engineer saying a Rode mic into a UA 6176 was what we hear, straight in....but the mix engineer in another article lists all the plugins and stuff used on the same Rolling in the Deep production....so? how much of the original mic is left really?

if we EQ a mic is it really fair to say this sound is that of the mic? or is the sound maybe not the mic but the smashed compressor?
(Yea I think the off access point is crucial). I am Adele fan. The mic technique and treatment might be a bit more important than the mic itself. Many of her songs seemed comped together - many takes - but I like the result so I don't care. I would think having low self noise mic is more important when you have a singer like of her quality and in compositions with so much vocal room available.. You can squeeze out every last subtle tone. She is the epitome of 'letting' you in. I also think great singers can adapt to the mic easier and better...