My October 2009 AES Show Report

[Mike Rivers]

Here: http://tinyurl.com/yhsvbfh (a PDF)

Enjoy

[Don Pearce[_3_]]

On Sun, 18 Oct 2009 09:35:25 -0400, "Soundhaspriority"
> wrote:

>
>"Mike Rivers" > wrote in message
...
>> Here: http://tinyurl.com/yhsvbfh (a PDF)
>>
>> Enjoy
>
>Mike, I gave it 5 minutes, but it doesn't load.
>
No problem here.

d

[Mike Rivers]

Soundhaspriority wrote:
>> Here: http://tinyurl.com/yhsvbfh (a PDF)
> Mike, I gave it 5 minutes, but it doesn't load.

You could try it again. I uploaded a correction on the
Shure mic history (thanks to John Hardy) this morning
and I suppose it's possible that you were trying to get it
during the minute or so that I deleted the old file and replaced
it with the corrected version with the same name. I just
tried it again and it works.

If it still doesn't work for you, e-mail me, I'll give you
the direct URL, but I try to avoid putting it in a newsgroup
so as not to call the spammers' attention to it.

[Don Pearce[_3_]]

On Sun, 18 Oct 2009 10:14:11 -0400, "Soundhaspriority"
> wrote:

>
>"Mike Rivers" > wrote in message
...
>> Soundhaspriority wrote:
>>>> Here: http://tinyurl.com/yhsvbfh (a PDF)
>>> Mike, I gave it 5 minutes, but it doesn't load.
>>
>> You could try it again. I uploaded a correction on the
>> Shure mic history (thanks to John Hardy) this morning
>> and I suppose it's possible that you were trying to get it
>> during the minute or so that I deleted the old file and replaced
>> it with the corrected version with the same name. I just
>> tried it again and it works.
>>
>> If it still doesn't work for you, e-mail me, I'll give you
>> the direct URL, but I try to avoid putting it in a newsgroup
>> so as not to call the spammers' attention to it.
>>
>I have it now from Firefox. Google Chrome had a problem with it.
>

True, Google Chrome hangs for me as well trying to fetch this.

d

[hank alrich]

Soundhaspriority > wrote:

> "Mike Rivers" > wrote in message
> ...
> > Here: http://tinyurl.com/yhsvbfh (a PDF)
> >
> > Enjoy
>
> Mike, I gave it 5 minutes, but it doesn't load.
>
> Bob Morein
> (310) 237-6511

Downloaded and opened correctly here. New Mac laptop (last year's model)
and OS 10.5.8.

--
ha
shut up and play your guitar

[hank alrich]

Mike Rivers > wrote:

> Here: http://tinyurl.com/yhsvbfh (a PDF)
>
> Enjoy

As always, Mike, many thanks for the report.

Wonder what those A-T ribbons sound like? <g>

--
ha
shut up and play your guitar

[david gourley]

Mike Rivers > put forth the notion in...news:hbdumo$o1l$1
@news.eternal-september.org:

> Here: http://tinyurl.com/yhsvbfh (a PDF)
>
> Enjoy

Thank you!

david

[Mike Rivers]

hank alrich wrote:

> Wonder what those A-T ribbons sound like? <g>

A-T microphones, I guess. Probably with more top end
than we usually expect from a ribbon mic, but then that
seems to be the direction that most modern ribbon mic
makers are going.

I'm curious to see if Stephen Sank is doing as good a
job of building an RCA style mic from scratch as Wes
Dooley is.

[Mike Rivers]

Soundhaspriority wrote:

> Since the stock photos are available on websites, it might add a "you are
> there" touch if you take shots yourself.

I was debating whether to take my camera this year and decided that there
were enough pictures that I could sprinkle some in from press releases and
occasionally web sites, just to break up the text. I don't have a phone with
a camera and it's more important for me to carry a phone.

It seems that everyone doing a show report these days is doing it as a
video.
I hate those because I have to sit at my computer to watch it. I figure
that I'm
adding the personal touch by writing my own explanation rather than quoting
a press release or web page.

Maybe these things have just run their course and I shouldn't bother to do
them any more. I didn't do an AES report for a few years and nobody seemed
to miss it. But I've been thinking of setting up a web site for review
if I can
figure out how to extract some money from it, and I want to keep up my
image.

[Richard Crowley]

Don Pearce wrote:
> "Soundhaspriority" wrote:
>> "Mike Rivers" wrote ...
>>> Soundhaspriority wrote:
>>>>> Here: http://tinyurl.com/yhsvbfh (a PDF)
>>>> Mike, I gave it 5 minutes, but it doesn't load.
>>>
>>> You could try it again. I uploaded a correction on the
>>> Shure mic history (thanks to John Hardy) this morning
>>> and I suppose it's possible that you were trying to get it
>>> during the minute or so that I deleted the old file and replaced
>>> it with the corrected version with the same name. I just
>>> tried it again and it works.
>>>
>>> If it still doesn't work for you, e-mail me, I'll give you
>>> the direct URL, but I try to avoid putting it in a newsgroup
>>> so as not to call the spammers' attention to it.
>>>
>> I have it now from Firefox. Google Chrome had a problem with it.
>
> True, Google Chrome hangs for me as well trying to fetch this.

Google Chrome worked fine for me to open and read Mike's
document. Great report, Mike. I learned many new things.
Thank you for sharing it with us.

I think I'll get the Studio Six Digital Audio Tools application
for my iPod Touch. Looks pretty cool.

[Scott Dorsey]

Mike Rivers > wrote:
>hank alrich wrote:
>
>> Wonder what those A-T ribbons sound like? <g>
>
>A-T microphones, I guess. Probably with more top end
>than we usually expect from a ribbon mic, but then that
>seems to be the direction that most modern ribbon mic
>makers are going.

The microphone looks to be closer to the Beyer designs than to typical
classic ribbons, for better or worse. I like the general idea and while
they seemed to have a presence peak, it didn't seem to be a crazy one.

>I'm curious to see if Stephen Sank is doing as good a
>job of building an RCA style mic from scratch as Wes
>Dooley is.

The thing is, the mike that Sank picked to build is a whole lot harder
than the ones Wes Dooley has picked. On top of that, it looks like
there have been some considerable design changes; the grille and case
are not the same and the transformers are clearly smaller than the originals.

It's easy to review the Dooley 44-clone... it sounds like a 44 and you can
leave it at that. Even the price tag is like that of a 44. He's copying
every part of the 44. Sank isn't doing that, and it will be interesting
to see what he really IS doing.
--scott

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

[Richard Crowley]

Scott Dorsey wrote:
> Mike Rivers wrote:
>> hank alrich wrote:
>>> Wonder what those A-T ribbons sound like? <g>
>>
>> A-T microphones, I guess. Probably with more top end
>> than we usually expect from a ribbon mic, but then that
>> seems to be the direction that most modern ribbon mic
>> makers are going.
>
> The microphone looks to be closer to the Beyer designs than to typical
> classic ribbons, for better or worse. I like the general idea and
> while they seemed to have a presence peak, it didn't seem to be a
> crazy one.
>
>> I'm curious to see if Stephen Sank is doing as good a
>> job of building an RCA style mic from scratch as Wes
>> Dooley is.
>
> The thing is, the mike that Sank picked to build is a whole lot harder
> than the ones Wes Dooley has picked. On top of that, it looks like
> there have been some considerable design changes; the grille and case
> are not the same and the transformers are clearly smaller than the
> originals.
>
> It's easy to review the Dooley 44-clone... it sounds like a 44 and
> you can leave it at that. Even the price tag is like that of a 44.
> He's copying every part of the 44. Sank isn't doing that, and it
> will be interesting to see what he really IS doing.

But doesn't Sank's "Cloud 34" microphone bear a very strong
resemblance to his father's RCA BK-11? It looks like it could
have the same internal bone structure from the web photos.

[Scott Dorsey]

Richard Crowley > wrote:
>Scott Dorsey wrote:
>> The thing is, the mike that Sank picked to build is a whole lot harder
>> than the ones Wes Dooley has picked. On top of that, it looks like
>> there have been some considerable design changes; the grille and case
>> are not the same and the transformers are clearly smaller than the
>> originals.
>>
>> It's easy to review the Dooley 44-clone... it sounds like a 44 and
>> you can leave it at that. Even the price tag is like that of a 44.
>> He's copying every part of the 44. Sank isn't doing that, and it
>> will be interesting to see what he really IS doing.
>
>But doesn't Sank's "Cloud 34" microphone bear a very strong
>resemblance to his father's RCA BK-11? It looks like it could
>have the same internal bone structure from the web photos.

Yup, but the BK-11 is about the hardest ribbon mike to duplicate that
there is. The motor is way more difficult to build than the 44 motor.
On top of that, even if it's a perfect copy of the motor, changing the
grille and the transformer could turn it into a totally different-sounding
mike. Maybe a better one, although it's hard to imagine much of an
improvement over the BK-11. Maybe not. We need to find out.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Mike Rivers]

Richard Crowley wrote:

> I think I'll get the Studio Six Digital Audio Tools application
> for my iPod Touch. Looks pretty cool.

Great. Give us a report. How do you install an app on a Touch?
Can it go on line like an iPhone? I was wondering about that but
forgot to ask.

[Mike Rivers]

Soundhaspriority wrote:

> Do it as long as it's fun :)

Going to the shows is always fun. Writing up the reports has always
been a bit of a drag, however. I first started doing it when I still ran
a BBS. I'd come back from the show and post a bunch of messages
about what I saw that day. Sometimes I'd take a break for dinner. Someone
said I was the original blogger, before the word was invented.

In recent years, I've taken to trying to organize things a little better
rather
than taking literature off the daily stack and writing about the stuff
in the order
that it came out of my bag, and started doing the reports after I got
home. It
takes a couple of days now to get started, and a few more days to get it
all written.
Now there are people tweeting and uploading videos from their phones
right from
the show.

I wish I could have a staff like Craig Anderton does with Harmony Central,
but he works hard at it, too, taking videos all day, doing video interviews,
and then editing them back in his hotel room. But I can only watch a couple
of those at a sitting, and then I don't have anything as a reference
when the
movie is over.

It's a tough job, but somebody's got to do it.

[cedricl[_2_]]

On Oct 17, 7:31*pm, Mike Rivers > wrote:
> Here: *http://tinyurl.com/yhsvbfh*(a PDF)
>
> Enjoy

Sucked me right into that iPhone app.

[Arny Krueger]

"hank alrich" > wrote in message

> Mike Rivers > wrote:
>
>> Here: http://tinyurl.com/yhsvbfh (a PDF)
>>
>> Enjoy
>
> As always, Mike, many thanks for the report.
>
> Wonder what those A-T ribbons sound like? <g>

Probably more like ribbons than any other A/T mic. ;-)

[Arny Krueger]

"Soundhaspriority" > wrote in message

> "Mike Rivers" > wrote in message
> ...
>> Here: http://tinyurl.com/yhsvbfh (a PDF)
>>
>> Enjoy
>
> A very nice report.

+1

[Richard Crowley]

"Mike Rivers" wrote...
> Richard Crowley wrote:
>> I think I'll get the Studio Six Digital Audio Tools application
>> for my iPod Touch. Looks pretty cool.
>
> Great. Give us a report. How do you install an app on a Touch?
> Can it go on line like an iPhone? I was wondering about that but
> forgot to ask.

iPod Touch has built-in Wi-Fi so it can connect directly to the
iTunes Store (assuming you have established a working connection
to the interweb). There are several examples of applying this
capability to remote-control of various devices (including audio
equipment, IIRC).

You can also acquire apps using iTunes on the computer (Mac
or PC). You can download the app and cache it on your
computer until you next connect and "sync" the iPod. At that
point it will install on the iPod.

I want to see if the Studio Six software will work with this
simple, inexpensive microphone for the iPod Touch...
http://www.sparkfun.com/commerce/product_info.php?products_id=8778
(especially since Studio Six's hardware is not yet available.)

[Mike Rivers]

Richard Crowley wrote:

> iPod Touch has built-in Wi-Fi so it can connect directly to the
> iTunes Store (assuming you have established a working connection
> to the interweb).

> You can also acquire apps using iTunes on the computer (Mac
> or PC). You can download the app and cache it on your
> computer until you next connect and "sync" the iPod. At that
> point it will install on the iPod.

I was thinking about the latter, downloading to a computer and then
sending it to the iPod through the same route (iTunes, I assume) as
you'd load music on to it. I thought about the possibility of a wireless
Internet connection but I guess it only goes to one place, or a limited
number of places, all of which put some money into Apple's pocket

> I want to see if the Studio Six software will work with this
> simple, inexpensive microphone for the iPod Touch...
> http://www.sparkfun.com/commerce/product_info.php?products_id=8778

I'd ask Studio Six about it. I asked them at the show if the iPod had a
built-in mic similar to the iPhone and they said that it didn't but that it
came with a headset mic (why??? - I guess it also is capable of recording)
and that would work. The Sparkfun mic looks like it comes in to the line
input where the audio apps may not be looking for it, and then there's the
issue of calibration. Not enough details to know if the level-calibrated
apps can be adjusted for alternate mics.

Let us know what you learn.

[Ty Ford]

On Sun, 18 Oct 2009 14:01:32 -0400, Mike Rivers wrote
(in article >):

> hank alrich wrote:
>
>> Wonder what those A-T ribbons sound like? <g>
>
> A-T microphones, I guess. Probably with more top end
> than we usually expect from a ribbon mic, but then that
> seems to be the direction that most modern ribbon mic
> makers are going.
>
> I'm curious to see if Stephen Sank is doing as good a
> job of building an RCA style mic from scratch as Wes
> Dooley is.
>

I have examples of the Sank on my site now.

http://idisk.mac.com/tyreeford-Public?view=web

All files with JRS34 beginnings.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Mike Rivers]

Ty Ford wrote:

> I have examples of the Sank on my site now.

As the producer said: "What do YOU think?"

[Richard Crowley]

"Mike Rivers" wrote ...
> Richard Crowley wrote:
>> I want to see if the Studio Six software will work with this
>> simple, inexpensive microphone for the iPod Touch...
>> http://www.sparkfun.com/commerce/product_info.php?products_id=8778
>
> I'd ask Studio Six about it. I asked them at the show if the iPod had a
> built-in mic similar to the iPhone and they said that it didn't but that
> it
> came with a headset mic (why??? - I guess it also is capable of recording)
> and that would work.

Never heard of a headset mic for the iPod Touch?

> The Sparkfun mic looks like it comes in to the line
> input where the audio apps may not be looking for it,

That is the only input there is. There is no other.

> and then there's the
> issue of calibration. Not enough details to know if the level-calibrated
> apps can be adjusted for alternate mics.

Indeed. The absolute gain (i.e.sensitivity) can be adjusted by
changing the values of the resistors on the SparkFun board.

[Ty Ford]

On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
(in article >):

> Ty Ford wrote:
>
>> I have examples of the Sank on my site now.
>
> As the producer said: "What do YOU think?"

You talkin' to me? You talkin' to ME!

I am shocked by how good this mic sounds. The first ribbon mic I would
consider for vocals or acoustic guitar.

I had two problems, because this was a pre-production model Stephen sent me.
The motor needed better isolation. As I held the mic in my hand while wearing
headphones, I could hear arterial and venous blood flow in my hand. Modifying
where the springs connect inside has helped this, apparently. Don't know,
haven't tried after the mod.

I have a relatively low ceiling. The mic picks up stray AC fields here. Not a
deal killer, but I have to be vigilant about placement. Don't know if it's
getting into the ribbon or the transformer. Bona fide studios should have no
problem. Home studios MIGHT, or might not, wiring depending.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Mike Rivers]

Ty Ford wrote:

> I am shocked by how good this mic sounds. The first ribbon mic I would
> consider for vocals or acoustic guitar.

That's impressive.

> As I held the mic in my hand while wearing
> headphones, I could hear arterial and venous blood flow in my hand.

That's impressive

> I have a relatively low ceiling. The mic picks up stray AC fields here. Not a
> deal killer, but I have to be vigilant about placement. Don't know if it's
> getting into the ribbon or the transformer.

The M260s that Stephen modified for me (77DX style ribbons) need to be
turned to find the hum null. I suspect that it might be something
inherent in
the ribbon assembly.

[Geoff]

Ty Ford wrote:
> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
> (in article >):
>
>> Ty Ford wrote:
>>
>>> I have examples of the Sank on my site now.
>>
>> As the producer said: "What do YOU think?"
>
> You talkin' to me? You talkin' to ME!
>
> I am shocked by how good this mic sounds. The first ribbon mic I would
> consider for vocals or acoustic guitar.
>
> I had two problems, because this was a pre-production model Stephen
> sent me. The motor needed better isolation. As I held the mic in my
> hand while wearing headphones, I could hear arterial and venous blood
> flow in my hand.

Naa, would have happened with a '58'. You were just so excited blood was
being vigorously pumped to your extremities ;-)


geoff
PS In some circumstances I hear bloody pumping around my ears (like trying
to creep into home in the dead of the night without waking the kids...).

[david correia]

In article T>,
Ty Ford > wrote:

> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
> (in article >):
>
> > Ty Ford wrote:
> >
> >> I have examples of the Sank on my site now.
> >
> > As the producer said: "What do YOU think?"
>
> You talkin' to me? You talkin' to ME!
>
> I am shocked by how good this mic sounds. The first ribbon mic I would
> consider for vocals or acoustic guitar.
>
> I had two problems, because this was a pre-production model Stephen sent me.
> The motor needed better isolation. As I held the mic in my hand while wearing
> headphones, I could hear arterial and venous blood flow in my hand. Modifying
> where the springs connect inside has helped this, apparently. Don't know,
> haven't tried after the mod.
>
> I have a relatively low ceiling. The mic picks up stray AC fields here. Not a
> deal killer, but I have to be vigilant about placement. Don't know if it's
> getting into the ribbon or the transformer. Bona fide studios should have no
> problem. Home studios MIGHT, or might not, wiring depending.
>
> Regards,
>
> Ty Ford
>
> --Audio Equipment Reviews Audio Production Services
> Acting and Voiceover Demos http://www.tyford.com
> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA



Hello there Ty!

A Beyer 160 can sound quite nice on some acoustic guitars. Used a 160
and a 414buls together on an acoustic couple days ago. Was looking for a
big, wide sound. (I like Soundelux/Bock U195's and 87's too. I have a
really special re20 which I'd say is my fave on acoustic gtr. The 414
can sound really nice by itself too. I typically also use an Amek 9098
and/or Summit EQP-200 eq.)

I sometimes use the 160 on electric guitar amps too - has a more
detailed & sweeter tone than a 57, which is sometimes preferable. Nice
mic to have in the arsenal.




David Correia
www.Celebrationsound.com

[Ty Ford]

On Wed, 21 Oct 2009 21:45:05 -0400, david correia wrote
(in article >):

> In article T>,
> Ty Ford > wrote:
>
>> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
>> (in article >):
>>
>>> Ty Ford wrote:
>>>
>>>> I have examples of the Sank on my site now.
>>>
>>> As the producer said: "What do YOU think?"
>>
>> You talkin' to me? You talkin' to ME!
>>
>> I am shocked by how good this mic sounds. The first ribbon mic I would
>> consider for vocals or acoustic guitar.
>>
>> I had two problems, because this was a pre-production model Stephen sent
>> me.
>> The motor needed better isolation. As I held the mic in my hand while
>> wearing
>> headphones, I could hear arterial and venous blood flow in my hand.
>> Modifying
>> where the springs connect inside has helped this, apparently. Don't know,
>> haven't tried after the mod.
>>
>> I have a relatively low ceiling. The mic picks up stray AC fields here. Not
>> a
>> deal killer, but I have to be vigilant about placement. Don't know if it's
>> getting into the ribbon or the transformer. Bona fide studios should have
>> no
>> problem. Home studios MIGHT, or might not, wiring depending.
>>
>> Regards,
>>
>> Ty Ford
>>
>> --Audio Equipment Reviews Audio Production Services
>> Acting and Voiceover Demos http://www.tyford.com
>> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
>
>
>
> Hello there Ty!
>
> A Beyer 160 can sound quite nice on some acoustic guitars. Used a 160
> and a 414buls together on an acoustic couple days ago. Was looking for a
> big, wide sound. (I like Soundelux/Bock U195's and 87's too. I have a
> really special re20 which I'd say is my fave on acoustic gtr. The 414
> can sound really nice by itself too. I typically also use an Amek 9098
> and/or Summit EQP-200 eq.)
>
> I sometimes use the 160 on electric guitar amps too - has a more
> detailed & sweeter tone than a 57, which is sometimes preferable. Nice
> mic to have in the arsenal.
>
> David Correia
> www.Celebrationsound.com

David,

I have an M160 and have much better choices for acoustic guitar. The motor
was replaced not that long ago and it still doesn't have the gain or clarity
I'd want on a good sounding guitar. On a nasty sounding edgy acoustic, maybe,
but not on my Martin. Yes, in combo with a mic that has some top end, like a
414, you could probably get a big wide sound given the differences in those
two mics, but that's not what I was talking about.

I was recording sax here a few years back and put up the M160 and a cmc641.
In 3 seconds I knew the cmc641 was the winner.

The M160 does do a good job in buffing rough edges.

The 9098 is a great piece of gear, BTW.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[david correia]

In article T>,
Ty Ford > wrote:

> On Wed, 21 Oct 2009 21:45:05 -0400, david correia wrote
> (in article >):
>
> > In article T>,
> > Ty Ford > wrote:
> >
> >> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
> >> (in article >):
> >>
> >>> Ty Ford wrote:
> >>>
> >>>> I have examples of the Sank on my site now.
> >>>
> >>> As the producer said: "What do YOU think?"
> >>
> >> You talkin' to me? You talkin' to ME!
> >>
> >> I am shocked by how good this mic sounds. The first ribbon mic I would
> >> consider for vocals or acoustic guitar.
> >>
> >> I had two problems, because this was a pre-production model Stephen sent
> >> me.
> >> The motor needed better isolation. As I held the mic in my hand while
> >> wearing
> >> headphones, I could hear arterial and venous blood flow in my hand.
> >> Modifying
> >> where the springs connect inside has helped this, apparently. Don't know,
> >> haven't tried after the mod.
> >>
> >> I have a relatively low ceiling. The mic picks up stray AC fields here.
> >> Not
> >> a
> >> deal killer, but I have to be vigilant about placement. Don't know if it's
> >> getting into the ribbon or the transformer. Bona fide studios should have
> >> no
> >> problem. Home studios MIGHT, or might not, wiring depending.
> >>
> >> Regards,
> >>
> >> Ty Ford
> >>
> >> --Audio Equipment Reviews Audio Production Services
> >> Acting and Voiceover Demos http://www.tyford.com
> >> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
> >
> >
> >
> > Hello there Ty!
> >
> > A Beyer 160 can sound quite nice on some acoustic guitars. Used a 160
> > and a 414buls together on an acoustic couple days ago. Was looking for a
> > big, wide sound. (I like Soundelux/Bock U195's and 87's too. I have a
> > really special re20 which I'd say is my fave on acoustic gtr. The 414
> > can sound really nice by itself too. I typically also use an Amek 9098
> > and/or Summit EQP-200 eq.)
> >
> > I sometimes use the 160 on electric guitar amps too - has a more
> > detailed & sweeter tone than a 57, which is sometimes preferable. Nice
> > mic to have in the arsenal.
> >
> > David Correia
> > www.Celebrationsound.com
>
> David,
>
> I have an M160 and have much better choices for acoustic guitar. The motor
> was replaced not that long ago and it still doesn't have the gain or clarity
> I'd want on a good sounding guitar. On a nasty sounding edgy acoustic, maybe,
> but not on my Martin. Yes, in combo with a mic that has some top end, like a
> 414, you could probably get a big wide sound given the differences in those
> two mics, but that's not what I was talking about.
>
> I was recording sax here a few years back and put up the M160 and a cmc641.
> In 3 seconds I knew the cmc641 was the winner.
>
> The M160 does do a good job in buffing rough edges.
>
> The 9098 is a great piece of gear, BTW.
>
> Regards,
>
> Ty Ford
>
> --Audio Equipment Reviews Audio Production Services
> Acting and Voiceover Demos http://www.tyford.com
> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA



If you're ever micing a rock guitar amp, put up a 57 and a 160 next to
each other. You'll be faced with an interesting choice between 2
different tones. The 160's more defined, the 57's more slammin'.



David Correia
www.Celebrationsound.com

[Les Cargill[_2_]]

david correia wrote:
> In article T>,
> Ty Ford > wrote:
>
>> On Wed, 21 Oct 2009 21:45:05 -0400, david correia wrote
>> (in article >):
>>
>>> In article T>,
>>> Ty Ford > wrote:
>>>
>>>> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
>>>> (in article >):
>>>>
>>>>> Ty Ford wrote:
>>>>>
>>>>>> I have examples of the Sank on my site now.
>>>>> As the producer said: "What do YOU think?"
>>>> You talkin' to me? You talkin' to ME!
>>>>
>>>> I am shocked by how good this mic sounds. The first ribbon mic I would
>>>> consider for vocals or acoustic guitar.
>>>>
>>>> I had two problems, because this was a pre-production model Stephen sent
>>>> me.
>>>> The motor needed better isolation. As I held the mic in my hand while
>>>> wearing
>>>> headphones, I could hear arterial and venous blood flow in my hand.
>>>> Modifying
>>>> where the springs connect inside has helped this, apparently. Don't know,
>>>> haven't tried after the mod.
>>>>
>>>> I have a relatively low ceiling. The mic picks up stray AC fields here.
>>>> Not
>>>> a
>>>> deal killer, but I have to be vigilant about placement. Don't know if it's
>>>> getting into the ribbon or the transformer. Bona fide studios should have
>>>> no
>>>> problem. Home studios MIGHT, or might not, wiring depending.
>>>>
>>>> Regards,
>>>>
>>>> Ty Ford
>>>>
>>>> --Audio Equipment Reviews Audio Production Services
>>>> Acting and Voiceover Demos http://www.tyford.com
>>>> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
>>>
>>>
>>> Hello there Ty!
>>>
>>> A Beyer 160 can sound quite nice on some acoustic guitars. Used a 160
>>> and a 414buls together on an acoustic couple days ago. Was looking for a
>>> big, wide sound. (I like Soundelux/Bock U195's and 87's too. I have a
>>> really special re20 which I'd say is my fave on acoustic gtr. The 414
>>> can sound really nice by itself too. I typically also use an Amek 9098
>>> and/or Summit EQP-200 eq.)
>>>
>>> I sometimes use the 160 on electric guitar amps too - has a more
>>> detailed & sweeter tone than a 57, which is sometimes preferable. Nice
>>> mic to have in the arsenal.
>> >
>>> David Correia
>>> www.Celebrationsound.com
>> David,
>>
>> I have an M160 and have much better choices for acoustic guitar. The motor
>> was replaced not that long ago and it still doesn't have the gain or clarity
>> I'd want on a good sounding guitar. On a nasty sounding edgy acoustic, maybe,
>> but not on my Martin. Yes, in combo with a mic that has some top end, like a
>> 414, you could probably get a big wide sound given the differences in those
>> two mics, but that's not what I was talking about.
>>
>> I was recording sax here a few years back and put up the M160 and a cmc641.
>> In 3 seconds I knew the cmc641 was the winner.
>>
>> The M160 does do a good job in buffing rough edges.
>>
>> The 9098 is a great piece of gear, BTW.
>>
>> Regards,
>>
>> Ty Ford
>>
>> --Audio Equipment Reviews Audio Production Services
>> Acting and Voiceover Demos http://www.tyford.com
>> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
>
>
>
> If you're ever micing a rock guitar amp, put up a 57 and a 160 next to
> each other. You'll be faced with an interesting choice between 2
> different tones. The 160's more defined, the 57's more slammin'.
>
>
>
> David Correia
> www.Celebrationsound.com


Heresy it may be, but there's something about a 57
on acoustic, too. Sometimes.

--
Les Cargill

[david correia]

In article >,
Les Cargill > wrote:

> david correia wrote:
> > In article T>,
> > Ty Ford > wrote:
> >
> >> On Wed, 21 Oct 2009 21:45:05 -0400, david correia wrote
> >> (in article >):
> >>
> >>> In article T>,
> >>> Ty Ford > wrote:
> >>>
> >>>> On Mon, 19 Oct 2009 20:42:43 -0400, Mike Rivers wrote
> >>>> (in article >):
> >>>>
> >>>>> Ty Ford wrote:
> >>>>>
> >>>>>> I have examples of the Sank on my site now.
> >>>>> As the producer said: "What do YOU think?"
> >>>> You talkin' to me? You talkin' to ME!
> >>>>
> >>>> I am shocked by how good this mic sounds. The first ribbon mic I would
> >>>> consider for vocals or acoustic guitar.
> >>>>
> >>>> I had two problems, because this was a pre-production model Stephen sent
> >>>> me.
> >>>> The motor needed better isolation. As I held the mic in my hand while
> >>>> wearing
> >>>> headphones, I could hear arterial and venous blood flow in my hand.
> >>>> Modifying
> >>>> where the springs connect inside has helped this, apparently. Don't
> >>>> know,
> >>>> haven't tried after the mod.
> >>>>
> >>>> I have a relatively low ceiling. The mic picks up stray AC fields here.
> >>>> Not
> >>>> a
> >>>> deal killer, but I have to be vigilant about placement. Don't know if
> >>>> it's
> >>>> getting into the ribbon or the transformer. Bona fide studios should
> >>>> have
> >>>> no
> >>>> problem. Home studios MIGHT, or might not, wiring depending.
> >>>>
> >>>> Regards,
> >>>>
> >>>> Ty Ford
> >>>>
> >>>> --Audio Equipment Reviews Audio Production Services
> >>>> Acting and Voiceover Demos http://www.tyford.com
> >>>> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
> >>>
> >>>
> >>> Hello there Ty!
> >>>
> >>> A Beyer 160 can sound quite nice on some acoustic guitars. Used a 160
> >>> and a 414buls together on an acoustic couple days ago. Was looking for a
> >>> big, wide sound. (I like Soundelux/Bock U195's and 87's too. I have a
> >>> really special re20 which I'd say is my fave on acoustic gtr. The 414
> >>> can sound really nice by itself too. I typically also use an Amek 9098
> >>> and/or Summit EQP-200 eq.)
> >>>
> >>> I sometimes use the 160 on electric guitar amps too - has a more
> >>> detailed & sweeter tone than a 57, which is sometimes preferable. Nice
> >>> mic to have in the arsenal.
> >> >
> >>> David Correia
> >>> www.Celebrationsound.com
> >> David,
> >>
> >> I have an M160 and have much better choices for acoustic guitar. The motor
> >> was replaced not that long ago and it still doesn't have the gain or
> >> clarity
> >> I'd want on a good sounding guitar. On a nasty sounding edgy acoustic,
> >> maybe,
> >> but not on my Martin. Yes, in combo with a mic that has some top end, like
> >> a
> >> 414, you could probably get a big wide sound given the differences in
> >> those
> >> two mics, but that's not what I was talking about.
> >>
> >> I was recording sax here a few years back and put up the M160 and a
> >> cmc641.
> >> In 3 seconds I knew the cmc641 was the winner.
> >>
> >> The M160 does do a good job in buffing rough edges.
> >>
> >> The 9098 is a great piece of gear, BTW.
> >>
> >> Regards,
> >>
> >> Ty Ford
> >>
> >> --Audio Equipment Reviews Audio Production Services
> >> Acting and Voiceover Demos http://www.tyford.com
> >> Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA
> >
> >
> >
> > If you're ever micing a rock guitar amp, put up a 57 and a 160 next to
> > each other. You'll be faced with an interesting choice between 2
> > different tones. The 160's more defined, the 57's more slammin'.
> >
> >
> >
> > David Correia
> > www.Celebrationsound.com
>
>
> Heresy it may be, but there's something about a 57
> on acoustic, too. Sometimes.
>
> --
> Les Cargill


It's all about context - how it fits in with the other instruments and
the arrangement. Use whatever sounds/works best!

Nobody but other engineers care about what mic we used ;>




David Correia
www.Celebrationsound.com

[Geoff]

Les Cargill wrote:
>
> Heresy it may be, but there's something about a 57
> on acoustic, too. Sometimes.

What - to make a steel string sound like a nylon ? ;-)

geoff

[Les Cargill[_2_]]

geoff wrote:
> Les Cargill wrote:
>> Heresy it may be, but there's something about a 57
>> on acoustic, too. Sometimes.
>
> What - to make a steel string sound like a nylon ? ;-)
>
> geoff
>
>

Naw, try it some time. Good for dense mixes.

--
Les Cargill

[Mike Rivers]

david correia wrote:

> It's all about context - how it fits in with the other instruments and
> the arrangement. Use whatever sounds/works best!

Or use what you have.

> Nobody but other engineers care about what mic we used ;>

The mic and preamp manufacturers do. They want to sell you
something that you don't already have. ;)

[Steve King]

"david correia" > wrote in message
...
| It's all about context - how it fits in with the other instruments and
| the arrangement. Use whatever sounds/works best!
|
| Nobody but other engineers care about what mic we used ;>
|| David Correia
| www.Celebrationsound.com

That's what I've been thinking as I read this thread. Sure, if you're
recording solo accoustical guitar you might choose a CMC41 or any of a
number of other mics depending on the instrument and the player, but if
you're micing an accoustical guitar in a band ... playing together ... you
might be much better off with another mic choice. No experience I've had
has been as useful as the three years I spent recording small and large
groups straight to 2-track tape with maybe a bounced overdub or two. That
teaches you how to prevent problems rather than correct problems later 'in
the mix'. Then, we got a four track and the troubles started;-) Old fart
rant off!

Steve King

[Ty Ford]

On Thu, 22 Oct 2009 19:18:33 -0400, david correia wrote
(in article >):

> If you're ever micing a rock guitar amp, put up a 57 and a 160 next to each
> other. You'll be faced with an interesting choice between 2 different tones.
> The 160's more defined, the 57's more slammin'.

no debate there.

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Ty Ford]

On Thu, 22 Oct 2009 22:41:23 -0400, david correia wrote
(in article >):

> It's all about context - how it fits in with the other instruments and the
> arrangement. Use whatever sounds/works best!
>
> Nobody but other engineers care about what mic we used ;>

And/or how nasty and/or green the acoustic guitar really sounds.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA