support Tutorials CDs PPT mouthpieces

Microphones microphones again

Guenne said:
Recordings are completely dry, no Compressor, Reverb or the like.
(ADMIN EDIT: Dead media link removed)
Click to expand...

An mp3 through laptop speakers might give a wrong impression.
I have a slight preference for the Lundahl but I am not sure.
What is your opinion?
 
Last edited by a moderator:
Last edited by a moderator:
aldevis said:
I was tempted, but I am after something that I might use on my other microphones too, something with valves...
Click to expand...
I use an AEA TRP, you can use it on any mic [EDIT: that doesn't need phantom power] . It isn't just for ribbons, it's just good for ribbons due to its extremely high noiseless gain.

My HMV ribbons need about 70 DB and it's ideal for those, but mostly I use an AKG C12VR, SM58, Ball & Biscuit or my trusty old Realistic Electret.
 
Last edited:
Pete Thomas said:
I use an AEA TRP, you can use it on any mic. It isn't just for ribbons, it's just good for ribbons due to its extremely high noiseless gain.

My HMV ribbons need about 70 DB and it's ideal for those, but mostly I use an AKG C12VR, SM58, Ball & Biscuit or my trusty old Realistic Electret.
Click to expand...

Is the AEA your main preamp?
I am currently tempted by this
http://www.tritonaudio.com/index.php?option=com_content&task=category&sectionid=4&id=20&Itemid=41

Many other options are above my budget.
 
yes, if I'm only using one or two mics then they go through the AEA then line inputs on the interface. When I use more then some will go through the mic amps on my interface which is an Apogee Ensemble.

BTW my previous answer was a bit misleading because you'd need external phantom power for mics that need it.
 
I am recording the sax using an EV RE27 N/D dynamic mic via a Focusrite Scarlett interface into Audacity. It seems to need quite high gain settings on the interface and Audacity to get reasonable recording levels.

I guess that a Fethead would provide gain before the interface, but would there be any benefit in terms of recording quality ?

I guess what I am asking is what potential problems are there with having high gain settings at each stage - is it all about noise or distortion ? And is there a "best" way of getting the necessary recording levels ?

Rhys
 
rhysonsax said:
I am recording the sax using an EV RE27 N/D dynamic mic via a Focusrite Scarlett interface into Audacity. It seems to need quite high gain settings on the interface and Audacity to get reasonable recording levels.
Click to expand...

My understanding is that using software gain, ie after the A/D converter is not going to help anything.

In the old days of 16bit recording it was important to get a decent recording level, but the level had to be healthy in the analogue domain first.

Since 24 bit recording you can now have a lot of overhead available and nothing is lost when brought up to a final mix level.
 
rhysonsax said:
I am recording the sax using an EV RE27 N/D dynamic mic via a Focusrite Scarlett interface into Audacity. It seems to need quite high gain settings on the interface and Audacity to get reasonable recording levels.

I guess that a Fethead would provide gain before the interface, but would there be any benefit in terms of recording quality ?

I guess what I am asking is what potential problems are there with having high gain settings at each stage - is it all about noise or distortion ? And is there a "best" way of getting the necessary recording levels ?

Rhys
Click to expand...

If you play into the RE27, do the light around the gain knobs on the Scarlett get red at some point?
At what point is the gain when it does not get red anymore (ie 9 o'clock)?
 
Hey,

I just did a recording with LRM1 Stock transformer and LRM Lundahl transformer using a Fethead.
When recording without Fethead, I would have to go to about 50-55 on my Interface. With Fethead 25.
I play 8 bars with each starting with the Lundahl.
Distance is about 50-60cm and I am using a Micscreen.

(ADMIN EDIT: Dead media link removed)

The stock transformer obviously has a higher output, the Lundahl sounds a bit "cleaner".

I also did a staccato test with the two (and my Shure SM7B to compare) without Fethead.

(ADMIN EDIT: Dead media link removed)

Cheers,
Guenne
 
Last edited by a moderator:
aldevis said:
If you play into the RE27, do the light around the gain knobs on the Scarlett get red at some point?
At what point is the gain when it does not get red anymore (ie 9 o'clock)?
Click to expand...

At maximum (about 4 o'clock) the light goes red at medium and high playing volumes. But I only have to back it off to about 3 o'clock and it won't turn red, even when I play the loudest I can.

I thought I read that the Scarlett interface pre-amps introduce quite a lot of noise at higher volume settings, so I am wondering about a Fethead and then setting the Scarlett gain much lower.

Rhys
 
Pete Thomas said:
My understanding is that using software gain, ie after the A/D converter is not going to help anything.

In the old days of 16bit recording it was important to get a decent recording level, but the level had to be healthy in the analogue domain first.

Since 24 bit recording you can now have a lot of overhead available and nothing is lost when brought up to a final mix level.
Click to expand...

But will software gain cause any harm, such as introducing noise or distortion ?

Rhys
 
rhysonsax said:
At maximum (about 4 o'clock) the light goes red at medium and high playing volumes. But I only have to back it off to about 3 o'clock and it won't turn red, even when I play the loudest I can.
Click to expand...

It seems very reasonable to me. If you can record 24bit it wouldn't be an issue.
You don't seem to need a FH, at the moment.
 
Software gain is pretty innocuous. You may try to normalize the track before mixing, but at 24 bit you can work at lower levels.
 
rhysonsax said:
But will software gain cause any harm, such as introducing noise or distortion ?
Click to expand...

Not if you are using 24 bit recording.

If 16 bit, then using software gain should not be used to compensate for a too oow signal at A/D conversion.

But I don't think you need to ever use 16bit recording any more these days. But if you do get as close to 0dB as you can at the analogue stage. If you recorded at very low levels with 16bit, then digital gain was just amplifying the noise and possible graininess you get from using too few of the 16 bits. (That's how a boffin once explained it to me, ie a very low signal at 16 bit was like possibly recording a decent signal at 4 bits.

24 bit is a lot more in effect than 50% better than 16bits because of the maths. Logorythmic or something.
 
The Scarlett sucks a lot... not just for the preamp section.

Ribbon mics on saxophones? It's a matter of tone.
They generally sound smooth due to the very low transients. Thick sound... with creamy mids... in most of cases, rolled off high frequencies.
It's not a bad thing... but it depends from what do you want to get.

You can't get so much detail from a ribbon mic (even if a "premium" mic)... it's not just a matter of eq'ing.

If you are going to use just one mic on the instrument... it's better if you take a good large diaphram condenser, to be choiced to match good your sound or the sound you need to get.
 

Similar threads

New Posts

Latest: Members' Recordings

Share this page

Support Cafesaxophone

Tutorials CDs PPT mouthpieces
Back
Top Bottom