Reply
 
Thread Tools Display Modes
  #1   Report Post  
Posted to rec.audio.pro
[email protected] jeremyseanbell@gmail.com is offline
external usenet poster
 
Posts: 1
Default pro microphones

I'm in the process of writing a short essay for my music recording industry class, in which I need to describe the type of gear that I would use for a demo recording project. I was hoping I could get some suggestions for some types of microphones to propose in my paper. I need to name specific brands, and they need to be high end professional microphones, retailing at $2000 or more.

I need microphones for the following sources:

- Snare drum
- Kick drum
- Toms
- Drum overheads
- Vocal mic for a high pitch, screamo-style heavy metal singer

Your suggestions would be greatly appreciated. Thank you!
  #2   Report Post  
Posted to rec.audio.pro
Mike Rivers Mike Rivers is offline
external usenet poster
 
Posts: 8,744
Default pro microphones

On 7/28/2012 7:59 PM, wrote:

I was hoping I could get some suggestions for
some types of microphones to propose in my paper. I need
to name specific brands, and they need to be high end
professional microphones, retailing at $2000 or more.


What type of demo? What's the purpose? What's the budget for
recording the demo? Who's paying for it.

If it's of an unsigned artist attempting to get signed by a
label, they'll expect to hear essentially a finished
recording. You, who don't know doodlysquat about microphones
and are still in school have no business trying to record
such a demo. He needs to go to a professional studio with a
knowledgable engineer and producer. They may choose among
dozens of mics ranging in cost from (to be realistic) $100
to $3,000. They'll use what works best for the material
being recorded, and it may not be the same microphones for
every song.

If you're doing a demo to get a gig at a coffee house, you
can do it just fine with inexpensive microphones.

Get your instructor to better define your assignment, or
write your paper explaining why there's no single good answer.

On the other hand, if you just want a list of brands and
models, go to any pro dealer's web site and pick out as many
as you need in the $500 to $2,000 range. Nobody can disagree
with your choices on paper.

Another approach would be to look through a few issues of
Mix magazine for articles on sessions with famous bands. All
of them mention some microphones. That'll do.

Learn to do your own research. But first, learn what you
need to find out.

--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff
  #3   Report Post  
Posted to rec.audio.pro
Scott Dorsey Scott Dorsey is offline
external usenet poster
 
Posts: 16,853
Default pro microphones

wrote:
Your suggestions would be greatly appreciated. Thank you!


My suggestions would almost certainly be unpopular.

Pick up a couple copies of Mix magazine and look at any of the articles
about how particular albums were recorded. Pick an album you like. Try
picking the mikes they used.

I mean, I'd use a Sennheiser 441 on almost everything but it's not $2,000.
Not yet, anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
  #4   Report Post  
Posted to rec.audio.pro
hank alrich hank alrich is offline
external usenet poster
 
Posts: 4,736
Default pro microphones

Scott Dorsey wrote:

wrote:
Your suggestions would be greatly appreciated. Thank you!


My suggestions would almost certainly be unpopular.

Pick up a couple copies of Mix magazine and look at any of the articles
about how particular albums were recorded. Pick an album you like. Try
picking the mikes they used.

I mean, I'd use a Sennheiser 441 on almost everything but it's not $2,000.
Not yet, anyway.
--scott


I find the assignment as described outrageously stupid and irrelevant.
Is _this_ how youngsters are to be brought up to competence in audio
recording?

Any mic works for any source, for some value of "works". (Apologies to
Tonebarge.)

--
shut up and play your guitar * http://hankalrich.com/
http://www.youtube.com/walkinaymusic
http://www.sonicbids.com/HankandShaidri
  #5   Report Post  
Posted to rec.audio.pro
Richard Webb[_3_] Richard Webb[_3_] is offline
external usenet poster
 
Posts: 533
Default pro microphones



On Sat 2012-Jul-28 21:14, Mike Rivers writes:
I was hoping I could get some suggestions for
some types of microphones to propose in my paper. I need
to name specific brands, and they need to be high end

snip remainder of poorly formed query

What type of demo? What's the purpose? What's the budget for
recording the demo? Who's paying for it.

What sort of facility, room used, etcetera?

If it's of an unsigned artist attempting to get signed by a label,
they'll expect to hear essentially a finished
recording. You, who don't know doodlysquat about microphones and
are still in school have no business trying to record
such a demo. He needs to go to a professional studio with a
knowledgable engineer and producer. They may choose among
dozens of mics ranging in cost from (to be realistic) $100
to $3,000. They'll use what works best for the material
being recorded, and it may not be the same microphones for
every song.


IF this dude's going to audio school, he needs to be able to formulate his thoughts a little better, or that school isn't teaching him much.

dO Mike and I sound a little harsh here? Sorry about that,
but your question is very poorly formulated, and yes I know
it's for some sort of paper, but that whole thing's rather
vague. You'll have to do better if you want other than
sarcastic comments from us old dogs been doing this for
awhile.

If you're doing a demo to get a gig at a coffee house, you
can do it just fine with inexpensive microphones.


Yeah right, but we don't know waht this guy's doing. What
school is this? IF you're not any better equipped to
formulate your questions than that I don't think I'd want to hire you.

Learn to do your own research. But first, learn what you
need to find out.


Well said.


Regards,
Richard
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet-Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.


  #6   Report Post  
Posted to rec.audio.pro
geoff geoff is offline
external usenet poster
 
Posts: 1,481
Default pro microphones

Richard Webb wrote:

IF this dude's going to audio school, he needs to be able to
formulate his thoughts a little better, or that school isn't teaching
him much.


I'd try a different school. But if he hasn't already worked that out for
himself, then maybe it IS the right school ......


geoff


  #7   Report Post  
Posted to rec.audio.pro
Frank Stearns Frank Stearns is offline
external usenet poster
 
Posts: 1,134
Default pro microphones

(Richard Webb) writes:

On Sat 2012-Jul-28 21:14, Mike Rivers writes:
I was hoping I could get some suggestions for
some types of microphones to propose in my paper. I need
to name specific brands, and they need to be high end

snip remainder of poorly formed query


What type of demo? What's the purpose? What's the budget for
recording the demo? Who's paying for it.

What sort of facility, room used, etcetera?


If it's of an unsigned artist attempting to get signed by a label,
they'll expect to hear essentially a finished
recording. You, who don't know doodlysquat about microphones and
are still in school have no business trying to record
such a demo. He needs to go to a professional studio with a
knowledgable engineer and producer. They may choose among
dozens of mics ranging in cost from (to be realistic) $100
to $3,000. They'll use what works best for the material
being recorded, and it may not be the same microphones for
every song.


IF this dude's going to audio school, he needs to be able to formulate his thoughts

a little better, or that school isn't teaching him much.

dO Mike and I sound a little harsh here? Sorry about that,
but your question is very poorly formulated, and yes I know
it's for some sort of paper, but that whole thing's rather
vague. You'll have to do better if you want other than
sarcastic comments from us old dogs been doing this for
awhile.


If you're doing a demo to get a gig at a coffee house, you
can do it just fine with inexpensive microphones.


Yeah right, but we don't know waht this guy's doing. What
school is this? IF you're not any better equipped to
formulate your questions than that I don't think I'd want to hire you.


Learn to do your own research. But first, learn what you
need to find out.


Well said.


+1 to all that's been said.

And, another grumpy old man here, but anyone getting into this racket needs to get
used to that in any event. (Even the nicest guys can get cranky when the client is
shelling out $5K+/hour for top players, say a string and horn section. They don't
want you, say, as a second engineer, fumbling around for an SD cardioide that didn't
match something on the list you remember from this exercise...

"Woe is me! I can't find any KM184s!"

"Hey, dip****! There're 12 Klaus-modified KM84s in the closet. Criminy!"


If the exercise truly is as stated, the I'm a little underwhelmed by the instructor.
It's largely meaningless without some kind of context.

If "background building" is the mission here (contrasted with actually having a
sense of which mic to use when), the better question might be:

"Study various manufacturer product lines. Do some research into what folks are
using/have used on a spread of sessions. For this paper, your clientele and projects
are likely to be X, and Y, while your equipment budget is Z. What products would you
be likely to put in your microphone locker and why? Defend your choices."

- extra credit to recast the clientele and projects; see how your locker contents
might (or might not) change.

- extra credit if you research the pros and cons of owning "vintage" microphones,
and discuss what you found out....

Frank
Mobile Audio

--
  #9   Report Post  
Posted to rec.audio.pro
Richard Webb[_3_] Richard Webb[_3_] is offline
external usenet poster
 
Posts: 533
Default pro microphones


On Sun 2012-Jul-29 05:04, Frank Stearns writes:
IF this dude's going to audio school, he needs to be able to formulate his
thoughts a little better, or that school isn't teaching him much.


snip
And, another grumpy old man here, but anyone getting into this
racket needs to get
used to that in any event. (Even the nicest guys can get cranky when
the client is
shelling out $5K+/hour for top players, say a string and horn
section. They don't
want you, say, as a second engineer, fumbling around for an SD
cardioide that didn't
match something on the list you remember from this exercise...


What exercise? I haven't seen anything from the op which
would tell me that he's actually expected to have learned
anything, except how to parrot back what he's heard or read
maybe.

"Woe is me! I can't find any KM184s!"

rotflmao!!!

If the exercise truly is as stated, then I'm a little underwhelmed by
the instructor.
It's largely meaningless without some kind of context.

ME too. Please give us the instructor's name and the school you're attending so we know to give its graduates the bum's
rush when they come calling. IF we're all wet please
restate your query more coherently.

If "background building" is the mission here (contrasted with
actually having a sense of which mic to use when), the better
question might be:


"Study various manufacturer product lines. Do some research into
what folks are using/have used on a spread of sessions. For this
paper, your clientele and projects
are likely to be X, and Y, while your equipment budget is Z. What
products would you
be likely to put in your microphone locker and why? Defend your
choices."


Indeed! Such an exercise causes the student to actually
engage a few brain cells and learn a few things. An
exercise as stated by the original poster just sees if he
can parrot what he's read in some magazines and on the
internet.

- extra credit to recast the clientele and projects; see how your
locker contents
might (or might not) change.


Indeed! IN fact, when I was first setting up for remote
truck a few years ago I went through a very similar
exercise, with an eye toward having to spend my own money.
Then additional factors I had to consider we

What might I be able to rent that isn't in my locker? oF
that which isn't available on the rental market how often
might I choose it?

What might sound reinforcement providers already have
available?

- extra credit if you research the pros and cons of owning
"vintage" microphones,
and discuss what you found out....


Indeed, that would be a great student exercise for such a
course.


Regards,
Richard
.... Remote audio in the southland: See www.gatasound.com
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet-Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.
  #10   Report Post  
Posted to rec.audio.pro
Luxey Luxey is offline
external usenet poster
 
Posts: 617
Default pro microphones

недеља, 29. јул 2012. 05.26.38 UTC+2, Scott Dorsey је написао/ла:
wrote:

Your suggestions would be greatly appreciated. Thank you!




My suggestions would almost certainly be unpopular.



Pick up a couple copies of Mix magazine and look at any of the articles

about how particular albums were recorded. Pick an album you like. Try

picking the mikes they used.



I mean, I'd use a Sennheiser 441 on almost everything but it's not $2,000..

Not yet, anyway.

--scott



--

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


I'd do so if I had more than one. Once it get to $2000, I'll sell it and buy 20SM57s. Not realy.


  #11   Report Post  
Posted to rec.audio.pro
Richard Webb[_3_] Richard Webb[_3_] is offline
external usenet poster
 
Posts: 533
Default pro microphones


On Sun 2012-Jul-29 12:36, Frank Stearns writes:

- extra credit to recast the clientele and projects; see how your
locker contents
might (or might not) change.


Indeed! IN fact, when I was first setting up for remote
truck a few years ago I went through a very similar
exercise, with an eye toward having to spend my own money.
Then additional factors I had to consider we


What might I be able to rent that isn't in my locker? Of
that which isn't available on the rental market how often
might I choose it?


snip
Great extensions to the assignment, Richard: adding a little bit of
Business 101 as
far as the amount of projected use of a given mic during its
amortization period,
and weighing renting vs. buying.


Which might have been just the assignment I'd give one
student. YOu're going to be doing field recording, or
remote, whatever you wish to call it. I might give each
student a different wrinkle on the assignment, not just to
write a paper, but to present before the class. But then,
I'm not a teacher at a recording school.

And indeed, if you can "piggyback" with PA companies you know and
trust (and vice
versa), that too is another good consideration.


Right, which I knew going in that pa companies would be
using certain microphones pretty regularly. THe ubiquitous
Shure 57 and 58 come to mind, etc. IF you recall, a few
years ago I put this question to this group just tosee what
other folks came up with, and got some good responses, but
from the usual suspects who know waht they're about of
course.

So, before the op decides to get offended at us crotchety
old men I hope he reads this thread with an eye toward
learning something, and realizes that if his school isn't
teaching him any better than is evidenced by his post here
he should demand his money back.

Regards,
Richard
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet-Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.
  #12   Report Post  
Posted to rec.audio.pro
Locrian Locrian is offline
external usenet poster
 
Posts: 2
Default pro microphones

Apologies for the double post, and thanks to those of you who posted helpful replies. To anyone else who is planning on posting any more helpful replies, you should know that I won't be reading this forum anymore, and I would hate for anyone to waste their time.
  #13   Report Post  
Posted to rec.audio.pro
Scott Dorsey Scott Dorsey is offline
external usenet poster
 
Posts: 16,853
Default pro microphones

Locrian wrote:
Apologies for the double post, and thanks to those of you who posted helpfu=
l replies. To anyone else who is planning on posting any more helpful repl=
ies, you should know that I won't be reading this forum anymore, and I woul=
d hate for anyone to waste their time.


That's a shame, since I am kind of curious what the motivation behind the
assignment is.

I'm assuming it was an attempt to get students familiar with high end
microphones and what is out there. Which is kind of curious, since I
can think of better ways of doing that that might require a bit more thought.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
  #14   Report Post  
Posted to rec.audio.pro
Richard Webb[_3_] Richard Webb[_3_] is offline
external usenet poster
 
Posts: 533
Default pro microphones


On Sun 2012-Jul-29 21:08, Scott Dorsey writes:
Apologies for the double post, and thanks to those of you who posted helpfu=
l replies. To anyone else who is planning on posting
any more helpful replies, you should know that I won't be reading this forum
anymore, and I would hate for anyone to waste their time.


That's a shame, since I am kind of curious what the motivation
behind the assignment is.


I was sort of curious myself, as if the instructor gave him
no other info than he gave us then the instructor is truly
serving his students poorly imho. But, I'm thinking it was
just a guy looking to make demos in his basement and thought that the "I'm a student at a recording studio ... " approach might help him out.

I'm assuming it was an attempt to get students familiar with high
end microphones and what is out there. Which is kind of curious,
since I can think of better ways of doing that that might require a
bit more thought. --scott


I can too, I sure wouldn't be talking about recording
screamo type stuff to introduce students to higher end
microphones. A string quartet maybe.

But then again, I'd discuss all sorts of aspects of
microphones, have one student discuss what he'd want in the
mic locker for a film sound operation, or an orchestra in
(name your environment here) etc.

I can think of a lot better ways, and yes, maybe one of the
assignments for one student might be standard rock sessions
in the usual way, but I'd try to expose my students to a
variety of techniques and environments, and hopefully if one of my students came to a group such as this they'd be able
to formulate their question much better than this poor kid.


Whatever recording school this is, I think this kid needs to demand his money back.

Regards,
Richard
--
| Remove .my.foot for email
| via Waldo's Place USA Fidonet-Internet Gateway Site
| Standard disclaimer: The views of this user are strictly his own.
Reply
Thread Tools
Display Modes

Posting Rules

Smilies are On
[IMG] code is On
HTML code is Off


Similar Threads
Thread Thread Starter Forum Replies Last Post
Microphones- help!! [email protected] Pro Audio 13 October 29th 06 10:07 PM
Red microphones, my my my Jim Kollens Pro Audio 4 January 20th 05 07:26 AM
T.H.E. Microphones Hugh Conway Pro Audio 0 June 24th 04 07:25 PM
microphones Greg M Silverman Pro Audio 5 February 29th 04 11:09 PM
FS: Microphones Chris T. Young Pro Audio 1 August 13th 03 09:12 PM


All times are GMT +1. The time now is 06:35 PM.

Powered by: vBulletin
Copyright ©2000 - 2024, Jelsoft Enterprises Ltd.
Copyright 2004-2024 AudioBanter.com.
The comments are property of their posters.
 

About Us

"It's about Audio and hi-fi"