What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

Yes, dynamic mics will work but I'm trying to record some trills to match
the character of some single note pro samples and the sound of a dynamic mic
is totally wrong. If find I can achieve it up to a point with my bargain
basement Marshall MXL6000 condensor, which actually does very well at
relatively softer levels but if I put any kind of gusto behind the horn then
it distorts and breaks up pretty badly, gets this buzzy edge to it. I assume
it's due to some kind of distortion happening in a diaphragm that's just not
up to it. It doesn't seem to matter how far from the mic I get, and I have
to be relatively close to the mic (approx 4 ft) to match the character of
these samples I'm referring to.

I've always heard that people often use ribbon mics for brass. Should
essentially any ribbon mic be up to the task or not necessarily?

I see a number of ribbon mics on ebay for under $400, Beyer Dynamics, Nady
RSM-2, Electro Harmonix among others. Any of these any good - i.e. good
enough for my purposes which means significantly better performance than
that MXL 6000? Essentially, it just has to have the right kind of character
and be able to take the sound energy of a trumpet without breaking up. I've
never used a ribbon so I'm not versed in whether there's significant
difference in sound among ribbon mics.

Or, alternately any other relatively "bargain" mic you know of that will
yield decent results with the right kind of character? I had a CAD E-100
condensor for a while and it did okay but added a "funny", sort of stuffy
coloration to the sound.

Thanks for all shared wisdom.

I don't know about the nady ribbon, but scott dorsey just reviewed one
for recording so he might be able to answer that. I hate to suggest
it, but depending on your mic pre, you might try a 57 for the trumpet,
otherwise something like an re20 might be a little better.

Nate

Doc wrote:
What's a relatively inexpensive mic that will do a decent job of recording
trumpet?

Perhaps Audio-technica ATM125 or Sennhieser MD421. They're both often
recommended for loud instruments like brass.

I'd certainly try them myself because I have both :-)

--
Anahata
-+- http://www.treewind.co.uk
Home: 01638 720444 Mob: 07976 263827

On Thu, 18 Aug 2005 21:47:44 +0100, anahata wrote:

Doc wrote:
What's a relatively inexpensive mic that will do a decent job of
recording trumpet?

Perhaps Audio-technica ATM125 or Sennhieser MD421. They're both often
recommended for loud instruments like brass.

Or EV ND/468

"Nate Najar" wrote in message
oups.com...
I don't know about the nady ribbon, but scott dorsey just reviewed one
for recording so he might be able to answer that. I hate to suggest
it, but depending on your mic pre, you might try a 57 for the trumpet,
otherwise something like an re20 might be a little better.

I've tried SM-57/58 and while they will record the trumpet, the sound isn't
right for what I need. It has to have that more "overall encompassing"
sound. That's my own terminology but it's my impression that the LDC
captures more of the whole sound of something than a dynamic.

I don't know how the pro samples I'm trying to match (the Soundclips
collection by Data Becker) were recorded but I assume they were recorded
using some kind condensor, ribbon or tube mic, probably in Europe. I know
about how mics sound to be pretty sure they weren't recorded with a dynamic.

Ribbons are used on some of the best horn recordings, but it ain't just the
mic. The space its recorded in also makes a big difference (as well as the
player and rest of the equipment chain of course). If you record in a
reasonably sized space that isn't too dead and point the horn off axis to
the mic, then you should get a good sound from any reasonable mic. I
usually play into an AKG C451 at home. Not especially well suited to
trumpet specifically, but I never overload it, even when playing loud.

Experiment with the position of the mic. I found a big difference in timbre
when I recorded my trumpet and even more so with flugel.




Rich


--
www.richiebee.ca
www.funkydory.ca

"Doc" wrote in message
nk.net...

What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

Yes, dynamic mics will work but I'm trying to record some trills to match
the character of some single note pro samples and the sound of a dynamic
mic
is totally wrong. If find I can achieve it up to a point with my bargain
basement Marshall MXL6000 condensor, which actually does very well at
relatively softer levels but if I put any kind of gusto behind the horn
then
it distorts and breaks up pretty badly, gets this buzzy edge to it. I
assume
it's due to some kind of distortion happening in a diaphragm that's just
not
up to it. It doesn't seem to matter how far from the mic I get, and I
have
to be relatively close to the mic (approx 4 ft) to match the character of
these samples I'm referring to.

I've always heard that people often use ribbon mics for brass. Should
essentially any ribbon mic be up to the task or not necessarily?

I see a number of ribbon mics on ebay for under $400, Beyer Dynamics, Nady
RSM-2, Electro Harmonix among others. Any of these any good - i.e. good
enough for my purposes which means significantly better performance than
that MXL 6000? Essentially, it just has to have the right kind of
character
and be able to take the sound energy of a trumpet without breaking up.
I've
never used a ribbon so I'm not versed in whether there's significant
difference in sound among ribbon mics.

Or, alternately any other relatively "bargain" mic you know of that will
yield decent results with the right kind of character? I had a CAD E-100
condensor for a while and it did okay but added a "funny", sort of stuffy
coloration to the sound.

Thanks for all shared wisdom.

"Doc" wrote in message
nk.net
What's a relatively inexpensive mic that will do a decent
job of recording trumpet? I know about the Royer R-121
and Coles 4038, but they're a bit pricey.

Yes, dynamic mics will work but I'm trying to record some
trills to match the character of some single note pro
samples and the sound of a dynamic mic is totally wrong.
If find I can achieve it up to a point with my bargain
basement Marshall MXL6000 condensor, which actually does
very well at relatively softer levels but if I put any
kind of gusto behind the horn then it distorts and breaks
up pretty badly, gets this buzzy edge to it.

Looking at the odds that the mic is distorting, and the odds
that the mic pre is distorting, I'd put my money on the mic
preamp distorting. What happens if you put an attenuator on
the mic input?

"Arny Krueger" wrote in message
...

Looking at the odds that the mic is distorting, and the odds
that the mic pre is distorting, I'd put my money on the mic
preamp distorting. What happens if you put an attenuator on
the mic input?

Well, the same preamp is fine when playing blastissimo using a dynamic. I
could be wrong, but I would think that means it's the mic. I don't have to
push the pre-amp anywhere near redline for it to happen.

I have used a Beyer M160, a less expensive, and relatively rugged (for
a ribbon) mic on trumpet. It works pretty well, giveng the sound one
is trying to achieve using ribbons.

On Thu, 18 Aug 2005 19:37:34 GMT, "Doc"
wrote:


What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.
. . .
I see a number of ribbon mics on ebay for under $400, Beyer Dynamics, Nady
RSM-2, Electro Harmonix among others. Any of these any good - i.e. good
enough for my purposes which means significantly better performance than
that MXL 6000?

"Willie K. Yee, MD" wrote in message
...
I have used a Beyer M160, a less expensive, and relatively rugged (for
a ribbon) mic on trumpet. It works pretty well, giveng the sound one
is trying to achieve using ribbons.

And I've used an M260, less expensive still, with good results.

Peace,
Paul

On 8/18/05 3:37 PM, in article
t, "Doc"
wrote:


What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

Yes, dynamic mics will work but I'm trying to record some trills to match
the character of some single note pro samples and the sound of a dynamic mic
is totally wrong. If find I can achieve it up to a point with my bargain
basement Marshall MXL6000 condensor, which actually does very well at
relatively softer levels but if I put any kind of gusto behind the horn then
it distorts and breaks up pretty badly, gets this buzzy edge to it. I assume
it's due to some kind of distortion happening in a diaphragm that's just not
up to it. It doesn't seem to matter how far from the mic I get, and I have
to be relatively close to the mic (approx 4 ft) to match the character of
these samples I'm referring to.

I've always heard that people often use ribbon mics for brass. Should
essentially any ribbon mic be up to the task or not necessarily?

I see a number of ribbon mics on ebay for under $400, Beyer Dynamics, Nady
RSM-2, Electro Harmonix among others. Any of these any good - i.e. good
enough for my purposes which means significantly better performance than
that MXL 6000? Essentially, it just has to have the right kind of character
and be able to take the sound energy of a trumpet without breaking up. I've
never used a ribbon so I'm not versed in whether there's significant
difference in sound among ribbon mics.

Or, alternately any other relatively "bargain" mic you know of that will
yield decent results with the right kind of character? I had a CAD E-100
condensor for a while and it did okay but added a "funny", sort of stuffy
coloration to the sound.

Thanks for all shared wisdom.



If you don't have the tone, it don't matter
But since fact, clearly presented like that, NEVER goes anywhere with
questions like this...


RE20
SM7
TLM170
I have an SK-46 and 2 NOS Reslo's that don;t suck

How the heck can anyone guess for you not hearing what you;re trying to work
to...

Doc wrote:
"Arny Krueger" wrote:

Looking at the odds that the mic is distorting, and the odds that
the mic pre is distorting, I'd put my money on the mic preamp
distorting. What happens if you put an attenuator on the mic input?


Well, the same preamp is fine when playing blastissimo using a
dynamic. I could be wrong, but I would think that means it's the
mic. I don't have to push the pre-amp anywhere near redline for it
to happen.


This depends on the preamp; if there's an amplifying stage before the
gain control, a condensor, with its higher output, could distort the
initial stage even with the gain set to zero. This sometimes happens
with the Nagra preamps I use, and like Arny said, an attenuator on the
mic input solves it.

That said, I bought a Rode NT1 from a trumpet player once because it
distorted. He got an AKG C414 and the distortion was gone, so it might
well be your mic..

Hans
--




This is a non-profit organization;
we didn't plan it that way, but it is

=====================================


(remove uppercase trap, and double the number to reply)

"Doc" wrote in message
nk.net
"Arny Krueger" wrote in message
...

Looking at the odds that the mic is distorting, and the
odds that the mic pre is distorting, I'd put my money on
the mic preamp distorting. What happens if you put an
attenuator on the mic input?

Well, the same preamp is fine when playing blastissimo
using a dynamic.

Haven't you noticed that your typical condenser mic puts out
10-20 dB more output for a given sound?

I just ran into this last night for the 456th time when I
swapped a Audix OM-5 for a condenser that was too sensitive
to the wind. I had to push the trim way up.

The worst example of this I know of is the Shure SM 57
versus a KSM-44. The number 24 db comes to mind.

I could be wrong, but I would think that means it's the
mic.

Not at all.

I don't have to push the pre-amp anywhere near redline
for it to happen.

What does "redline" mean as applied to a mic preamp?

You do know that the clipping indicators on some mic preamps
are faulty and fail to indicate some forms of internal
clipping, right?

"Hans van Dongen" wrote in message

Doc wrote:
"Arny Krueger" wrote:

Looking at the odds that the mic is distorting, and the
odds that the mic pre is distorting, I'd put my money
on the mic preamp distorting. What happens if you put
an attenuator on the mic input?

Well, the same preamp is fine when playing blastissimo
using a dynamic. I could be wrong, but I would think
that means it's the mic. I don't have to push the
pre-amp anywhere near redline for it to happen.


This depends on the preamp; if there's an amplifying
stage before the gain control, a condensor, with its
higher output, could distort the initial stage even with
the gain set to zero. This sometimes happens with the
Nagra preamps I use, and like Arny said, an attenuator on
the mic input solves it.
That said, I bought a Rode NT1 from a trumpet player once
because it distorted. He got an AKG C414 and the
distortion was gone, so it might well be your mic..

The not-so-hidden agenda would be the built-in attenuators
and overload indicator on the C414. Some models of the NT1
lack both.

I'm not saying that a trumpet player can't possibly overload
a given mic, but attenuators can be cheap problem solvers.

On Thu, 18 Aug 2005 17:33:48 -0400, Doc wrote
(in article et):


"Nate Najar" wrote in message
oups.com...
I don't know about the nady ribbon, but scott dorsey just reviewed one
for recording so he might be able to answer that. I hate to suggest
it, but depending on your mic pre, you might try a 57 for the trumpet,
otherwise something like an re20 might be a little better.

I've tried SM-57/58 and while they will record the trumpet, the sound isn't
right for what I need. It has to have that more "overall encompassing"
sound. That's my own terminology but it's my impression that the LDC
captures more of the whole sound of something than a dynamic.

I don't know how the pro samples I'm trying to match (the Soundclips
collection by Data Becker) were recorded but I assume they were recorded
using some kind condensor, ribbon or tube mic, probably in Europe. I know
about how mics sound to be pretty sure they weren't recorded with a dynamic.



All encompassing is just too unspecific. Can you direct us to some particular
examples?

Ty Ford



-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

Doc wrote:

What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

Yes, dynamic mics will work but I'm trying to record some trills to match
the character of some single note pro samples and the sound of a dynamic mic
is totally wrong.

A lot of those pro samples are probably done with an RE-20. I'd recommend
one. But for that matter, try the 635A. What you consider "the character"
of a dynamic mike might well be the presence peak.

I see a number of ribbon mics on ebay for under $400, Beyer Dynamics, Nady
RSM-2, Electro Harmonix among others. Any of these any good - i.e. good
enough for my purposes which means significantly better performance than
that MXL 6000? Essentially, it just has to have the right kind of character
and be able to take the sound energy of a trumpet without breaking up. I've
never used a ribbon so I'm not versed in whether there's significant
difference in sound among ribbon mics.

I reviewed the Nady in a recent issue of Recording, but to be honest
you might want to try the Beyer M-260. But I would not give up on dynamics
yet.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

On Thu, 18 Aug 2005 19:37:34 GMT, "Doc"
wrote:


What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

I allways thought a 77DX was a bargin

danger wrote:
On Thu, 18 Aug 2005 19:37:34 GMT, "Doc"
wrote:

What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

I allways thought a 77DX was a bargin

When they were $65 from Harris-Allied's used division, they were.
Not any more. I am seeing people paying really crazy amounts of money
for the things... you can get a brand new Coles 4040 for less.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

On Fri, 19 Aug 2005 01:20:47 GMT, "Doc"
wrote:

Well, the same preamp is fine when playing blastissimo using a dynamic. I
could be wrong, but I would think that means it's the mic. I don't have to
push the pre-amp anywhere near redline for it to happen.

It could mean that some mics produce a hotter signal than others.

How close is the mic to the trumpet? A classic position is just
off-centre, 4 feet in front of the bell. You need a good-sounding
room of course.

On 8/19/05 2:37 PM, in article ,
"danger" wrote:

On Thu, 18 Aug 2005 19:37:34 GMT, "Doc"
wrote:


What's a relatively inexpensive mic that will do a decent job of recording
trumpet? I know about the Royer R-121 and Coles 4038, but they're a bit
pricey.

I allways thought a 77DX was a bargin

When.. In 1972?
Actually I think the 77's have a boycott against me, I;ve never heard one I
LIKE... (one was actually pretty good in the wide-open pattern but other
than that it was just awful) 44's yes, Jr Velo's yes, 639's, Sk46, yeah
verily even th eRESLO's I have that are so maligned in public... Yes.
The 77 is SUCH a lovely thing, I really want to hear one that's working
right.

SSJVCmag wrote:

When.. In 1972?
Actually I think the 77's have a boycott against me, I;ve never heard one I
LIKE... (one was actually pretty good in the wide-open pattern but other
than that it was just awful) 44's yes, Jr Velo's yes, 639's, Sk46, yeah
verily even th eRESLO's I have that are so maligned in public... Yes.
The 77 is SUCH a lovely thing, I really want to hear one that's working
right.

So, Johnny, get me a gig up there and I'll bring a couple. They are
definitely cleaner in the upper midrange than the 44. The trick is
never to use the 77 in anything but figure-8.

I got a trick for the 74B that you'll like also. Lundahl transformer.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Ty Ford" wrote in message
...

All encompassing is just too unspecific. Can you direct us to some
particular
examples?

You know the sound you get when you use a dynamic mic for a vocal? You
basically have to stand right in front of it and it gives a very
characteristic, choked off, "buzzy" kind of sound. Sure, it's loud but with
no highs to speak of and a sort of dead overall presence. Ditto using one
for an instrument.

Compared to singing or playing an instrument (say a fiddle or recorder) into
a LDC. You just hear more of whatever is being aimed at the mic. Dynamics
just sound different.

"Arny Krueger" wrote in message
...
"Doc" wrote in message

You do know that the clipping indicators on some mic preamps
are faulty and fail to indicate some forms of internal
clipping, right?

There's a lot I don't know. If I want to find an attenuator, where should I
look and what should I look for?

"SSJVCmag" wrote in message
...

If you don't have the tone, it don't matter
But since fact, clearly presented like that, NEVER goes anywhere with
questions like this...

You'll have to take my word for it that my tone is decent.

I was fortunate to recently assist Lynn Fuston in a ribbon mic shootout
for upcoming an article and one of his assesment CD's. Lot's of
dramatically different sounds from the different ribbons. Some would
lend themselves to trumpet better than others I think. I bet he could
give you a worthwhile opinion or two. You can reach him at
3daudioinc.com.

"Doc" wrote in message
nk.net
"Arny Krueger" wrote in message
...
"Doc" wrote in message

You do know that the clipping indicators on some mic
preamps are faulty and fail to indicate some forms of
internal clipping, right?

There's a lot I don't know. If I want to find an
attenuator, where should I look and what should I look
for?

Pick one:

http://www.macmidimusic.com/prod.itml/icOid/10400

http://www.directproaudio.com/produc...directid=53336

http://www.swee****er.com/store/detail/MAX20/

On Sat, 20 Aug 2005 05:41:07 -0400, Doc wrote
(in article et):


"Ty Ford" wrote in message
...

All encompassing is just too unspecific. Can you direct us to some
particular
examples?

You know the sound you get when you use a dynamic mic for a vocal? You
basically have to stand right in front of it and it gives a very
characteristic, choked off, "buzzy" kind of sound. Sure, it's loud but with
no highs to speak of and a sort of dead overall presence. Ditto using one
for an instrument.

Compared to singing or playing an instrument (say a fiddle or recorder) into
a LDC. You just hear more of whatever is being aimed at the mic. Dynamics
just sound different.



AH, well, HF response is a part of that LDC effect. Also a lot of LDCs have
more generously wide patterns, so they pick up more space. If the space
sucks, btw, so will the sound.

If you have a really nice room, well damped, in addition to what you use,
try a LDC in omni hung a few feet over the head off the horn player and
pointed face down (even omnis are directional at HF).

A U 87 is nice.

Ty Ford


-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

Doc wrote:
"Arny Krueger" wrote in message
...
"Doc" wrote in message

You do know that the clipping indicators on some mic preamps
are faulty and fail to indicate some forms of internal
clipping, right?

There's a lot I don't know. If I want to find an attenuator, where should I
look and what should I look for?

Go to your local Shure dealer and get the adjustable Shure pad. Better
yet, get a dozen of them because sooner or later you'll need them.
It's got a three position switch for 15, 20, or 25 dB attenuation.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Doc wrote:
"SSJVCmag" wrote in message

If you don't have the tone, it don't matter
But since fact, clearly presented like that, NEVER goes anywhere with
questions like this...

You'll have to take my word for it that my tone is decent.

How do you know? You're on the wrong side of the horn to be able to
tell. I have no idea what a piano sounds like when I'm playing it,
because I'm not in the audience, I'm up at the piano.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Arny Krueger wrote:

[...]but attenuators can be cheap problem solvers.

Will phantom power work with in-line attenuators?

L


--
lars farm // http://www.farm.se
lars is also a mail-account on the server farm.se
aim:

"Scott Dorsey" wrote in message
...
Doc wrote:
"SSJVCmag" wrote in message

If you don't have the tone, it don't matter
But since fact, clearly presented like that, NEVER goes anywhere with
questions like this...

You'll have to take my word for it that my tone is decent.

How do you know? You're on the wrong side of the horn to be able to
tell. I have no idea what a piano sounds like when I'm playing it,
because I'm not in the audience, I'm up at the piano.

That's what walls are for. ;-)

Lars Farm wrote:
Arny Krueger wrote:

[...]but attenuators can be cheap problem solvers.

Will phantom power work with in-line attenuators?

Yes. There is a discussion of why in the FAQ, but basically the series
resistance is much lower than 6.81k so the resistance of the attenuator
is swamped by the source resistance anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Doc wrote:

"Ty Ford" wrote in message
...


All encompassing is just too unspecific. Can you direct us to some

particular

examples?


You know the sound you get when you use a dynamic mic for a vocal? You
basically have to stand right in front of it and it gives a very
characteristic, choked off, "buzzy" kind of sound. Sure, it's loud but with
no highs to speak of and a sort of dead overall presence. Ditto using one
for an instrument.

Compared to singing or playing an instrument (say a fiddle or recorder) into
a LDC. You just hear more of whatever is being aimed at the mic. Dynamics
just sound different.



Sometimes you don't want what the dynamics reject, tho'.

--
Les Cargill

"Lars Farm" wrote in
message
news:1h1m794.1psbctepdkr68N%see.bottom.of.page.for
Arny Krueger wrote:

[...]but attenuators can be cheap problem solvers.

Will phantom power work with in-line attenuators?

Yes, and it #@!! better, given that the most common
circumstance for using attenuators is condenser mics that of
course need phantom power.

I like ribbons on trumpet for sure, particularly 77s (as long as
they're in good shape, which all too many aren't), 44s and Coles 4038s.
I've used the little Royer (I want to say 111 - is that right?), but
not on trumpet yet. I'm betting I'd like it.

In general I'd say the following about trumpets: they are often very
loud, so you don't need (or usually want) a particularly high-output
mic. They're also often very bright, especially when they're very loud,
so high frequency headroom is at a major premium.

Someone mentioned trying a Rode NT-1, which I have a pair of, and find
them rather bright and VERY hot. I haven't tried one on trumpet but I'm
not surprised to hear it wasn't very successful. They're quite nice on
acoustic guitar though. For what it's worth, the Sanken CU-41 (which
lists for $2750, and is thus way out of the price range we're talking
about) is a superb choice on trumpet. Very high headroom, especially in
the top end where loud, high trumpets can shred almost any condenser
mic.

Several people mentioned RE20s, which would be a good choice, but on a
tight budget you might try to find a used RE10, which can be had for
$50 or so. I was told long ago that RE10s were actually RE15s that
didn't quite pass EV's inspection standards (I wonder if someone ping
Scott Dorsey can confirm or refute this). Anyway, the RE15 is no
longer in production, but the RE16 is, which is the same mic with a
built in ball-type pop filter. It lists for about $350, so it gives you
an idea of its intended market position (they also used to make the
RE11, which was the pop filter version of the RE10). In my experience
the RE10 sounds pretty much indistinguishable from an RE15, and as such
is a great bargain. It won't sound like an RE20, but it's got a lot in
common with it: it's relatively flat across its working range (which is
not as extended as an RE20, which should be ok on trumpet, since ribbon
mic-style bandlimiting usually complements the tone), it's fairly low
output, and can handle quite a bit of level. For what they cost to buy,
I think you'll be very pleased.

They're quite useful on other things as well, like tom toms, guitar
cabinets and snare bottom (it's my first choice there, even out of
pretty big mic lockers). They also have a built-in hi-pass filter
switch, which is a nice bonus. I think of them as being like an SM57
without the HF boost that the latter has (for PA mic-specific proximity
effect reduction). They're nice, neutral, flat, fairly wide range, high
headroom cardioid dynamics that just happen to be dirt cheap. Like 57s,
they're useful in a very wide range of applications. I've had a pair
for many years now, and still use them surprisingly often.

Ted Spencer, NYC
www.tedspencerrecording.com

On 8/20/05 5:41 AM, in article
t, "Doc"
wrote:


"Ty Ford" wrote in message
...

All encompassing is just too unspecific. Can you direct us to some
particular
examples?

You know the sound you get when you use a dynamic mic for a vocal? You
basically have to stand right in front of it and it gives a very
characteristic, choked off, "buzzy" kind of sound.
Sure, it's loud but with
no highs to speak of and a sort of dead overall presence. Ditto using one
for an instrument.

Dang...
You really need to work with dynamics that aren't broke...


Compared to singing or playing an instrument (say a fiddle or recorder) into
a LDC. You just hear more of whatever is being aimed at the mic. Dynamics
just sound different.