Not really a shootout but I’m putting the Shure SM58 Dynamic Vocal Microphone up against the Audix OM2 Dynamic Vocal Microphone. Is this a fair comparison? You bet. The SM58 is right at $99 and so is the OM2. Both offer a similar frequency response although the Audix is responsive up to 16,000Hz rather than 15,000 like the SM58. Compared to the SM58, the Audix is a new microphone and much less known, but does that make it a worse mic? Absolutely not, in fact, I like to think that since they are a newer company, they have been able to take a different approach to making microphones and make modern sounding microphones, rather than continuing to make mics the same way they have with modern components. I recommend checking them both out to form your own opinion but I love the Audix, it has a clarity and presence that the 58 lacks. The 58 is a little boxy for me and somewhat bass heavy. Check them both out at American Musical Supply for more information.
-Ryan
Archive for August, 2008
Dynamic Vocal Microphone Shootout
08/29/2008Big Bass Rig Tone in a Pedal!
08/29/2008
I’ve used and have some experience with the Tech 21 Sansamp RBI and I love it. When used together with a bass amp or even by itself, it sounds great but I’ve been looking for something to give me that same tone during rehearsals without lugging the live rig in from the van. Eureka, I’ve found it! What is it? Well, it’s another Tech 21 product silly. The Tech 21 SansAmp Bass Driver DI Programmable Bass Guitar Direct Box. What’s so special about it? I’ll tell you, it sounds phenomenal, that’s what it’s all about, tone. Our rehearsal space is equipped with an in-ear monitoring system so you don’t go deaf during rehearsals, just live performances. We love it but due to the smaller size of the rehearsal space we aren’t able to bring in our live guitar and bass rigs so we’re stuck using processors. For guitars we’ve been using the Digitech RP350 pedals and sound good enough for rehearsal but we were just using a Whirwind Director DI Box straight into the Soundcraft Delta 8 mixer. The bass was always the weakest link on our rehearsal sound until now. I prefer the sound of overdriven bass so the Bass Driver delivers exactly what i want and it is programmable so I can clean it up like I would do in live situations too. It features 3 programmable patches, so I can set #1 to be clean, #2 to be slightly gritty and #3 to be my push over the cliff distortion. Perfect! It can even be used for direct recording without anyone knowing you only used a DI box/pedal. Check it out ASAP, you will NOT be disappointed.
-Ryan
Live Rig Versus Studio Rig
08/28/2008I’m talking guitar here. I’ve talked to some people who swear by using the same guitar rig in the studio that they would use on stage , and that’s fine but should you not explore more tonal territory? I hear the argument regularly, even from a friends band “Sick Machine” who just released their Debut CD “Ready to Burn.” Guitarist Chad, said after the release that he wasn’t too pleased with his guitar sound. When asked why, he said he was able to use a bunch of different heads like Marshall, Peavey, Mesa Boogie etc. He ultimately chose the Mesa but having little experience with it and being pressed for time in the studio environment, he was not allowed the necessary dial-in time. I asked him why he didn’t just go with what he knew and use his live rig. His reply was that he wanted to try something that was popular. Choosing a popular amp isn’t necessarily the best way to musically express yourself. I thought the final tracks sounded great but it’s not my band. However I do know how picky people get with their own projects and that includes me.
On the other hand, I usually use my live rig. I have recorded my live rig and gotten excellent results but my live setup is a 120 watt head into a 412 cabinet so I always have to deal with more noise since the volume is higher. Typical live rigs are high power, 60-120 and maybe even 150 watts which will only get to a certain low volume before they are just too quiet. What’s the solution? The Marshall Power Brake. It won’t hurt to think about getting smaller 1×12 or 2×12 speaker cabinets. I’m not saying don’t experiment with tone but when it comes down to it, don’t waste your time in the studio experimenting, got with what you know. You will be happier with the outcome, guaranteed!
-Ryan
Portable High-Quality Digital Recording
08/28/2008
I know what you’re thinking, how can these two things even be in the same sentence? I’ll tell you how, It’s all about 1 bit recording technology. 1 bit is less than 16 and even less than 24 so how could it be better? 1-bit recording is the latest advancement in audio, and has been adopted for use in the critically acclaimed SACD recording format. It offers a frequency response of DC to 100 kHz and dynamic range of 120 dB. WOW! That is amazing considering that most recording devices only record 20Hz – 20kHz. The purpose of this unit besides being a field recorder that will capture the most realistic sounds on the market is the use as a master recorder. Basically you will take your final mix and record it via a summing mixer to the Korg MR1000 Pro Mobile Digital Recorder and then you can transfer it to your mastered format of choice. The reason you would do this is to allow for the most dynamic range and harmonics. You can literally hear the difference. Your mix will be louder and will let you hear more with a lower noise floor and greater fidelity. Try it, you’ll love it
-Ryan
Upcoming Recording Session
08/28/2008Aah yes. I love to record original music and I spoke with the guitarist in my rock band and I believe we may start production on a brand new single very soon. Actually, I just love to record in general, whether it’s my project or someone else’s. I’ve been going over our last setup in my head and I’m thinking about using some different microphones this time. I’ve done a lot of research and tried a lot of things but I haven’t found a better setup to record drums than to mic the top and bottom head to really bring out the true tone of the drums in the finished product. I had somebody record and mix my drums during the last session and I wasn’t there for the final mix so they didn’t turn out the exact way I wanted them so I think this time I will just have somebody there to hit the start and stop buttons for me so I’m positive I will capture precisely what I want.
If you’re like me, as a drummer I like my drums to be very up front in the mix, especially the kick and the snare. They are the driving force of rock and punk music so it should sit up front. Not in front of the vocals by any means but I like to think my drumming abilities are vey tight and should be right out in the open, not in the background. In order to accomplish this I’ll use mostly my standard microphone choices and placement techniques. Kick: Audix D6 pointed right where the beater strikes the head, inside my drum with the resonant head removed and probably a Shure SM57 on the outside of the batter head, very close to where the beater strikes the head with the phase reversed for some extra definition. Snare: Actually for snare I’m going to try something a little different. I’m going to try a Shure SM86 condenser mic on the top of the snare and a Shure SM57 on the bottom. That should make for a punchier snare sound but keep the detail I prefer. I’ll also flip the phase on the SM57 I use to pick up the bottom of my snare, otherwise I’ll get a lot of phase cancellation.
The biggest difference in my microphone choices will be on the toms. I have honestly never found a tom sound that I like so it’s time for drastic measures. Typically I use dynamic microphones on both top and bottom of my toms but this time I’ll use Shure SM58 mics on the bottom heads and probably large diaphragm condenser microphones on the top. It seem as though I never get the detail and airiness that I want without drastic EQ curves when using dynamic mics on top, so this time should be different. Not entirely sure what microphones I’ll use on the tops yet and I might change my mind and decide to go with small diaphragm condensers instead but this should be the setup I’ll use this time.
As far as signal path, I’m betting it will probably be straight into the Digidesign 002 to capture my overheads. I’ll probably be using Audix SCX1 small diaphragm condensers and we’ll probably use the Yamaha 01V96VCM Digital Mixer since it has the lightpipe outputs allowing us to record all 12+ drum microphones on their own individual tracks. I’m excited to get started but there is a lot of work involved with pre-production. I’ll keep you updated with the process.
-Ryan
Battery powered guitar amp with tons of tone
08/27/2008
If you are looking for a battery powered electric guitar amplifier that has killer tone and will make a perfect holiday gify, look no further than the Line 6 Micro Spider Combo Amplifier. It features 6 watts of power and all the models you would ever need in a battery powered amplifier. I know, 6 watts doesn’t sound like much but when you crank it up and start jamming, you will be impressed. Not only is it portable, it has a built in chromatic tuner with note-name display, POD 2.0-style direct output, 1/4-inch microphone input with dedicated mic trim knob and 1/4 inch instrument in and headphone out. It’s also very lightweight at only 7 pounds; you can literally take it anywhere. Check it out at American Musical Supply today.
