Re: Millennia and Neumann

[Mike Rivers]

In article > writes:

> Maybe not in a good way. At the jazz festival, it was a good way for
> some of the performers, but there were a couple that had some odd slapping
> and clicking sounds in their mouth that really got exaggerated.

Yeah, man! Listen to that RESOLUTION! (to some, this is more important
than a pleasing voice)

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[xy]

thanks Chris,

does the Origin have the ability to make a "true" HV-3 preamp, or is
it a modded HV-3 when you select solid state and no other sections?

[xy]

thanks for the insights, Mr. Dorsey.

would it be "weird" to use the KMS-105 as a studio vocal mic? It's
built/marketed for live use, but maybe if you're seeking high
resolution it could be good?

[S O'Neill]

JoVee wrote:


> It's odd... that gotta-handhold 'cabaret thang' hurts so many.
> Especially when they're defaulting to the jam-it-in-the-mouth
> technique that usually eliminates the nasals and they sound like a
> prox-hump-clogged-sinus demo.


And you can't see her face!

[Mike Rivers]

In article > writes:

> > And you know, this past year I had an RCA ribbon sitting on the stands by the
> > side of the stage, and not a single vocalist wanted to use it.

> It's odd... that gotta-handhold 'cabaret thang' hurts so many. Especially
> when they're defaulting to the jam-it-in-the-mouth technique that usually
> eliminates the nasals and they sound like a prox-hump-clogged-sinus demo.

Life has changed. Today a singer needs to be over-amplified to be
heard over a band that's over-amplified. Most of today's jazz singers
have never sung without a microphone so they've never learned to work
with a mic that's perfectly capable of picking up the band as well as
their voice. They get around that by hiding a hand-held vocal mic from
the band.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[J. Joyce]

The milennia is an excellent choice and I see it in many of the finest
studios. It is nice to have a variety of preamps, and there are now
many excellent ones available. The Great River is highly regarded;
and for the feeling of being inside the microphone, the Audio Upgrades
stand alone unit cannot be beat. Both of these last two will drive
ribbons as well.

jj


On 2 Aug 2004 22:59:00 -0700, (xy)
wrote:

>lots of m's and n's!
>
>but seriously, i was wondering how Neumann mics (KM-84, U87, TLM-103
>etc) tend to pair up with the Millennia preamp. i really like Neumann
>mics, and i've heard and observed great results with the Millennia
>HV-3. but i don't have enough experience to know if the Neumanns
>"like" the Millennia in the same way that a U87 likes being mated with
>a 1073.

[J. Joyce]

The milennia is an excellent choice and I see it in many of the finest
studios. It is nice to have a variety of preamps, and there are now
many excellent ones available. The Great River is highly regarded;
and for the feeling of being inside the microphone, the Audio Upgrades
stand alone unit cannot be beat. Both of these last two will drive
ribbons as well.

jj


On 2 Aug 2004 22:59:00 -0700, (xy)
wrote:

>lots of m's and n's!
>
>but seriously, i was wondering how Neumann mics (KM-84, U87, TLM-103
>etc) tend to pair up with the Millennia preamp. i really like Neumann
>mics, and i've heard and observed great results with the Millennia
>HV-3. but i don't have enough experience to know if the Neumanns
>"like" the Millennia in the same way that a U87 likes being mated with
>a 1073.

[Chris Seifert]

I'm not sure if it's a "true" HV3 preamp or not but I'm sure John at
Millenia would
be happy to answer any of your questions. I know when I was interested
in buying a pair
he was very helpful and informative.

I do know Millenia's site lists alot of info about the STT1 and it
mentions the dual preamp paths as... "TWIN MIC PREAMP PATHS — M-2b
VACUUM TUBE & HV-3 SOLID STATE ".

What I can say is a pair of STT1's has given me the best acoustic
guitar and piano recording's
I've done yet.

Best regards,
Chris
wavetrap



(xy) wrote in message >...
> thanks Chris,
>
> does the Origin have the ability to make a "true" HV-3 preamp, or is
> it a modded HV-3 when you select solid state and no other sections?

[Ty Ford]

On Sun, 8 Aug 2004 01:33:59 -0400, JoVee wrote
(in article >):

> in article , Scott Dorsey at
> wrote on 8/5/04 10:31 AM:
>
>> In article <znr1091708971k@trad>, Mike Rivers > wrote:
>>>
>>> In article > writes:
>>>
>>>> Maybe not in a good way. At the jazz festival, it was a good way for
>>>> some of the performers, but there were a couple that had some odd slapping
>>>> and clicking sounds in their mouth that really got exaggerated.
>>>
>>> Yeah, man! Listen to that RESOLUTION! (to some, this is more important
>>> than a pleasing voice)
>>
>> And you know, this past year I had an RCA ribbon sitting on the stands by
>> the
>> side of the stage, and not a single vocalist wanted to use it. Everybody
>> had to have something they could hold in their hand. Sure sounded nice on
>> horns, though.
>> --scott
>
> It's odd... that gotta-handhold 'cabaret thang' hurts so many. Especially
> when they're defaulting to the jam-it-in-the-mouth technique that usually
> eliminates the nasals and they sound like a prox-hump-clogged-sinus demo.
> The AKG585 and oddly the Neumann 105 both are nice at minimising that (as is
> the simple concept of moving the too-close mic to the upper-lip/under-nose
> position instead of the lick-it locale... but still ANY handheld is SO much
> better 4-6" out.

I will disagree with your comment that the KMS 105 may minimize problems at
close range. My experience has been that you can't eat a KMS 105.



> It seems it's the classically-trained folks that naturally take to getting
> their hands freed up. Had a singer take a 3 year project of moving herself
> from a career in classical non-operatic material (solo/choral stuff) into
> American popular song with a non-drums jazz ensemble and she just naturally
> kept her classical stage presence. Ended up using the AT4050 in bi for her
> in concert, she didn't work it real close, and it was absolutely natural
> with just the hint of what
> might-become-an-essence-of-proximity-warmth-if-you-thought-real-hard that
> you get in that pattern/distance. The live sound and the recordings were
> equally transparent and dandy.
>



-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at http://home.comcast.net/~tyreeford