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Microphone to compliment Solo 610
Old 1st March 2013
  #31
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OolalavSuperfukk's Avatar
 

Quote:
Originally Posted by Mr Thomas Hughes View Post
Jetam, I'm sure that's true, but older console preamps tended to be a lot better than today's alternative: cheap soundcard pres, cheap standalone multitrack built in pres, behringer desks plugged into soundcards, etc...

In my experience, microphone differences are much more apparent when amplified through quality pre-amps and I don't think there is a great deal of point in getting a great mic if you're only going to use it through something not very good. Your recording is only as strong as the weakest link in the chain.

Having said that, pre-amps are less important than mics, mics are less important than mic position, mic position is less important than choice of instrument and choice of instrument is less important than technique! Lastly, technique is less important than a good tune!
I definitely agree with you more than Jetam. One thing though, I notice people always saying that ultimately it's all about the song. I agree and disagree. I mean, I could care less if a song is ran through great gear an the audio is really good, but if they performance is poor or if the song sucks, then it's no good anyways; however, I great song can sound like **** if you're running it through bad gear and recording in a poor environment.

I try to be modest about it, but I do feel like my music has progressed a lot and even though I constantly second guess myself, I do feel like I have some pretty good material and lots of potential, but my gear is terrible. So poor gear can definitely hold talented songwriters back. Whether or not I'm talented is debatable, but I'm talking about those who are very talented.
Old 1st March 2013
  #32
Lives for gear
Quote:
Originally Posted by Mr Thomas Hughes View Post
Jetam, I'm sure that's true, but older console preamps tended to be a lot better than today's alternative: cheap soundcard pres, cheap standalone multitrack built in pres, behringer desks plugged into soundcards, etc...
Some were some were not. It's a bit unfair to compare a $ 500 000 console to a $ 100 interface. Anyway, my point wasn't that you shouldn't have a good mic pre, but that a good/decent mic pre works well with most if not all the microphones and that you should think mostly of what you want to record when choosing a microphone, not what kind of pre-amp you have.
Of course if you want to use a ribbon microphone from a distance on a very quiet source, it's good to think if you have enough gain, but that's pretty much it. A studio with an SSL console (many of their pre-amps aren't much better than those on audio interfaces) would have pretty much the same mics for the same application as the studio with an 80 series Neve or an 88RS.
Quote:
Your recording is only as strong as the weakest link in the chain.
As I've already written, it doesn't work like a water pipe where the narrowest part determines what will be the current. Of course if you had a mic pre with frequency response from 200 Hz to 5 kHz you wouldn't hear that much difference between an e.g. U87 and SM57, but even cheap Behringer pre-amps are relatively linear from 20 Hz to 20 kHz. The more expensive mic pres usually have a special character and in most cases lower noise, but it's really difficult to find a modern mic pre that would be more than a couple dB out of linearity in the frequency range of human hearing.

Quote:
Having said that, pre-amps are less important than mics, mics are less important than mic position, mic position is less important than choice of instrument and choice of instrument is less important than technique! Lastly, technique is less important than a good tune!
Absolutely!
Old 2nd March 2013
  #33
Here for the gear
Well, I agree with everybody! OolalavSuperfukk, indeed, a great song recorded really badly can sound like ****. -I think all of it is important: The song, the mic, the pre amp, the cables...just to different degrees. But yeah, if the less important stuff is totally ****, it'll have a much bigger effect on the more important stuff.
And if you have good songs, then yeah: get the gear that your songs deserve.
...I mean, imagine if the Mona Lisa had been attempted on computer paper. That'd be a real shame.

Jetam, yeah, you're right: most budget gear these days is pretty useable in most cases. I recorded a whole album just using an old Akai multitrack (DPS-16) pre-amp and it still sounds fine today...a little thin perhaps, but perfectly listenable.
I still use the Behringer desk when I need extra live channels with phantom power, and it's alright on non crucial parts (if there is such a thing?!).
However it's true that I can't really hear much difference between a Rode NT2 and an AKG C414 through the Behringer desk yet I can hear vast differences if they're plugged into the LA-610, so there must be something really amiss in the cheap desk, even though it's still perfectly useable. Also, the more I stack tracks up using budget gear, the more of a mess it becomes. Then again, I am indeed comparing a £40 desk with a £1200 preamp, which is a bit silly really!

Ribbon mics tend to sound very different through different preamps, though a lot of this is to do with impedance rather than expensive components.

Arghh, it's sunny outside, and I'm sitting here typing on gearslutz!!
Old 2nd March 2013
  #34
Lives for gear
 
James Lehmann's Avatar
 

Quote:
Originally Posted by OolalavSuperfukk View Post
I've seen the SM7b suggested a lot, but I've also heard rumors that the mic is hardly any different from a SM57 according to the frequency response chart. Perhaps this is false information that could be debunked, but i dunno...
http://www.jameslehmann.net/Misc_files/SM7B.wav
http://www.jameslehmann.net/Misc_files/SM57.wav
Old 2nd March 2013
  #35
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OolalavSuperfukk's Avatar
 

thanks man! I didn't listen with my studio headphones and could tell that the SM57 sounded thinner than the SM7b.
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