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Old 14th November 2009
  #4
Gear Nut
 

The problem with most lds condensers is that they have a pretty deep "grab". Some don't feel like grabbing so deep. For instance, I have friends in Mnhattan who had to stop trying U-87's. You can hear mice screwing in the walls through that thing, regardless of pattern! A couple ended up using TLM-103's, which have a sort of wideish cardioid pattern, but don't seem to grab so deeply. The 414buls doesn't grab as deep either, and it's got the benefit of a filter which is great for getting rid of rumble(2nd setting is 120hz(?), not bad for keeping the car rumbles out of the mic. A good basket helps as well. Decouple it. Hang a rug and put the mic just in front of it. I remember Matt, the singer from The The, using an ELAM 251 inside this upright coffin thing. It was open in the back, but really tight. The box was lined with foam and velvet, if I recall correctly. He would stuff himself in and sing into his mic, which was situated in the back of the coffin. This was at a downtown studio where external noise was an issue, especially the way he liked to compress himself. It worked like a charm.

Most ribbons are figure 8 by their nature, which isn't good in your situation. Also, most ribbons won't tolerate a close source, especially something as breathy and pop-ey as a vocal, meaning extraneous noise can compete better. They don't have fantastic high end extension or hype. They also don't have too much grab. If you use a hypercardioid ribbon such as a beyer M-160, you'll get great rejection. The ribbon in that thing is pretty forgiving, though you'll definitely want to use a pop filter. Just eq in the high end afterwards.

My 2 cents...