[Ty Ford]

I had a guy in this weekend who wanted to do a vocal demo so he could get
some gigs singing with bands.

He brought MP3 backing tracks that were medium edgy.

He had a couple of songs with octave jumps (B. W. Stevenson's "My Maria") and
was making the jump, but not keeping pitch when he was up there.

He mentioned something about not being able to hear right in the cans. I was
listening to the same line he was and everything sounded fine.

He said what he was hearing wasn't what he was used to with bands and monitor
wedges. That it was like singing through cotton.

That was a clue for me. I swapped out the Neumann D-01 (which sounded great
to me) for a 421 Sennheiser. He liked that better. I went another step and
tried a RE27ND. That worked even better for him.

My take away was that his ear had grown so accustomed to "poke you in the
ear" SM58 mics and monitors that he couldn't deal with a flatter, less
distorted studio mic.

Comments?

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

[Don Pearce[_3_]]

On Mon, 23 Mar 2009 10:11:02 -0400, Ty Ford
wrote:

I had a guy in this weekend who wanted to do a vocal demo so he could get
some gigs singing with bands.

He brought MP3 backing tracks that were medium edgy.

He had a couple of songs with octave jumps (B. W. Stevenson's "My Maria") and
was making the jump, but not keeping pitch when he was up there.

He mentioned something about not being able to hear right in the cans. I was
listening to the same line he was and everything sounded fine.

He said what he was hearing wasn't what he was used to with bands and monitor
wedges. That it was like singing through cotton.

That was a clue for me. I swapped out the Neumann D-01 (which sounded great
to me) for a 421 Sennheiser. He liked that better. I went another step and
tried a RE27ND. That worked even better for him.

My take away was that his ear had grown so accustomed to "poke you in the
ear" SM58 mics and monitors that he couldn't deal with a flatter, less
distorted studio mic.

Comments?

Regards,

Ty Ford


Interesting thoughts. How about still using the nice flat mic for
accurate recording, but give him the RE27ND sound in his phones with
some peaky eq on the monitor signal only.

How did he feel about the recorded result from these three mics when
you played back later? Did he still prefer the 27?

d

[Scott Dorsey]

In article ET,
Ty Ford wrote:
I had a guy in this weekend who wanted to do a vocal demo so he could get
some gigs singing with bands.

He brought MP3 backing tracks that were medium edgy.

He had a couple of songs with octave jumps (B. W. Stevenson's "My Maria") and
was making the jump, but not keeping pitch when he was up there.

He mentioned something about not being able to hear right in the cans. I was
listening to the same line he was and everything sounded fine.

He said what he was hearing wasn't what he was used to with bands and monitor
wedges. That it was like singing through cotton.

That was a clue for me. I swapped out the Neumann D-01 (which sounded great
to me) for a 421 Sennheiser. He liked that better. I went another step and
tried a RE27ND. That worked even better for him.

My take away was that his ear had grown so accustomed to "poke you in the
ear" SM58 mics and monitors that he couldn't deal with a flatter, less
distorted studio mic.

Comments?


What you give him in the cans doesn't have to be the same thing you are
recording. If you wants a big presence peak in the cans, the console
EQ will do that nicely without having to change out the mike.
--scott

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

[Ty Ford]

On Mon, 23 Mar 2009 10:15:43 -0400, Don Pearce wrote
(in article 49c99905.170155718@localhost):

On Mon, 23 Mar 2009 10:11:02 -0400, Ty Ford
wrote:

I had a guy in this weekend who wanted to do a vocal demo so he could get
some gigs singing with bands.

He brought MP3 backing tracks that were medium edgy.

He had a couple of songs with octave jumps (B. W. Stevenson's "My Maria")
and
was making the jump, but not keeping pitch when he was up there.

He mentioned something about not being able to hear right in the cans. I
was
listening to the same line he was and everything sounded fine.

He said what he was hearing wasn't what he was used to with bands and
monitor
wedges. That it was like singing through cotton.

That was a clue for me. I swapped out the Neumann D-01 (which sounded great
to me) for a 421 Sennheiser. He liked that better. I went another step and
tried a RE27ND. That worked even better for him.

My take away was that his ear had grown so accustomed to "poke you in the
ear" SM58 mics and monitors that he couldn't deal with a flatter, less
distorted studio mic.

Comments?

Regards,

Ty Ford


Interesting thoughts. How about still using the nice flat mic for
accurate recording, but give him the RE27ND sound in his phones with
some peaky eq on the monitor signal only.

How did he feel about the recorded result from these three mics when
you played back later? Did he still prefer the 27?

d

Don,

I thought about doing that later, but given the edgyness of his mp3

files, the match with the re27 N/D was pretty good.

Once he got through the vocals he didn't have a lot to say about the sound of
the mix.

Ty


--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 thought about doing that later, but given the edgyness of his mp3
files, the match with the re27 N/D was pretty good.

Have you checked the polarity of the digital mic? In fact, have you checked
the polarity of the MD421 and RE27? It's possible that the Neumann polarity
was opposite of what was closest to being in phase with what he was hearing
acoustically so he wasn't hearing himself as loudly, and perhaps with some
noticeable comb filtering. Or maybe it was a matter of different
throughput delay
that caused a different phase difference between the mic and the acoustic
through sound at his eardrum.

Turning the headphone volume up too loud may have solved the problem (but
caused another one).


--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[hank alrich]

Mike Rivers wrote:

Ty Ford wrote:

I thought about doing that later, but given the edgyness of his mp3
files, the match with the re27 N/D was pretty good.

Have you checked the polarity of the digital mic? In fact, have you checked
the polarity of the MD421 and RE27?

My 441's are pin 3 hot.

It's possible that the Neumann polarity
was opposite of what was closest to being in phase with what he was hearing
acoustically so he wasn't hearing himself as loudly, and perhaps with some
noticeable comb filtering. Or maybe it was a matter of different
throughput delay
that caused a different phase difference between the mic and the acoustic
through sound at his eardrum.

Turning the headphone volume up too loud may have solved the problem (but
caused another one).

Longer lasting problem, too.

--
ha
shut up and play your guitar