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Old 30th October 2012, 02:46 AM   #28651
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Originally Posted by Wavebourn View Post
By the way, probably tomorrow samples with optical capsules will be shipped. I am going to play with them and make a stereo array. If to combine them with vacuum tubes it can be a killing product!
Got some good mikes to compare them with? AKG414 will do. If you can record something simultaneously with both, those versed in the art can do serious comparisons for response & noise. So record some silent bits too.

Mr. Marsh, from your silence, I take it you haven't tried an Optimic.
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Old 30th October 2012, 02:53 AM   #28652
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> If you can record something simultaneously with both,
> those versed in the art can do serious comparisons
> for response & noise.
> So record some silent bits too.

That's a good test.
Should be apparent differances even to the unversed ......
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Old 30th October 2012, 03:43 AM   #28653
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Originally Posted by kgrlee View Post
Got some good mikes to compare them with? AKG414 will do. If you can record something simultaneously with both, those versed in the art can do serious comparisons for response & noise. So record some silent bits too.
I can borrow some most venerable mikes from Gearslutz forum members, if my own mikes are not the reference for someone.

However, would be great to have access to some acoustic measurement laboratory.
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Old 30th October 2012, 03:59 AM   #28654
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Omni-directional mikes are not very useful, in professional audio recording. We used them mainly for speakers; sport commentators, or journalists in news reportage, when we needed "close to mouth", because they do not suffer from proximity effects.

You can use them in artificial head for stereo recording, but it is not very "rock'n roll'.

We had only two of them (apart some ties mikes) in our park, on half an hundred of mikes, and i don't remember i had never turned a Neuman in omni position apart special situations.

May-be that is the reason why those light-mikes are not well known ?
Strange, because all good studios use to test all the mikes they can, as we used even very strange ones for particular effects.

It is a big part of the sound signature of a sound engeneer, the mikes he use for each instrument, and each one has his little secrets.
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Old 30th October 2012, 04:12 AM   #28655
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Right, today audio engineers on "all good studios" know the same "little secrets" and use rusted Neumann mikes for vocals and bent and dented SM-57 for guitar cabs.

Oh no, they use exactly mikes that were used to record famous performers, for corresponding genres. They believe that if to use a mike used to record Frank Sinatra their clients will sing the same, and gain the same popularity.

Who was recorded by optic mike? Nobody yet. But if to record some famous rapper they would know "the little secret" that optic mikes are good for rap.
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Old 30th October 2012, 05:07 AM   #28656
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Oh no, they use exactly mikes that were used to record famous performers, for corresponding genres.
Do you really think all sound engineers are stupid and don't know what they are doing ?
Or is-it just your pleasure to contradict every word I write ?
No engineer i knew, in France, US or England used the same set of mikes, except Neumann for some voices, and not the same models, and not always, and for very good reasons, along with Audiotechnica, Schoeps ... and even Russian mikes.

I had my old tube U67 (not rusted) with the internal grid removed, chosen between a lot of them after i fell in love with it 35 years ago. A miracle.
Mikes sets in studios are very different from one country to the other. When i was young, it was very difficult to find those fantastic electrostatic Shoeps in the US, by example. As well Electrovoice where very rare and unknown in France.

I had never used any Shure mike in studio. For guitar cabs, choice depended of the guitar or amp and the way the guitarist played. My favorite for saturated Gibson was an AKG double coil, D.202, a Sennheiser MD 441 for sharp sound and some others for different sounds. What do you believe ? It was not often that i recorded two drums kits the same way.

I know nothing about rap and i cannot listen-to. I believe they copy the sounds WE (our generation) created...
While we tried each record to sound different.
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Last edited by Esperado; 30th October 2012 at 05:36 AM.
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Old 30th October 2012, 05:33 AM   #28657
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Christophe, the first keyword was: "today", the second was: ""
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Old 30th October 2012, 06:29 AM   #28658
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Christophe, the first keyword was: "today", the second was: ""
"

I'm Sorry, Wavebourn, forgive-me. I'm too upset about this story of "copy".

In the 90s, when they arrived in studios with their rhythm's machines, synthesizers everywhere, and asked sound of guitar like Dire strait or... copy, copy; i knew it was finished for me and all my friends musicians, because we will be unable to afford that new period.
The previous disco period was painful enough, those robotic drummers ...

So i decided to change my media for movie and tv... It was a new country to explore, very antic, technically...
If there is no more music, at least, noise and dialog is less disagreeable to work with than music you don't like, see what i mean ?

But, believe-me, it was a very sad and bluesy period, music was my life, and i'm not yet consoled...
I have sold my Neumann, imagine...
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Last edited by Esperado; 30th October 2012 at 06:33 AM.
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Old 30th October 2012, 08:44 AM   #28659
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Unfortunately, there is too much 'expertise' being thrown around, amounting to little or nothing.
We used Shure or Electrovoice mikes for the GD in the early years, because they were almost overload proof, and sounded 'OK'. Of course condenser mikes were more 'delicate sounding' and Santana would add them when recording for that reason.
Later, we used B&K 4133 1/2" omni condenser mikes with 40K bandwidth, and they were clearer, without overloading, like the Neumann mikes might, if stressed.
Specific choices of mikes usually were insisted on by individual performers who might find that a particular mike's characteristics fit their voice. They would often supply the microphone, themselves, to make a recording.
People are NOT stupid, and even if we do not agree with them, and they, on the other hand, might not agree with us. It depends on what they want, sonically.
'Laughing' at the experience of others, is unprofessional.
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Old 30th October 2012, 09:10 AM   #28660
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Anyway, glad that some serious look at the technology has begun.
Begun and ended long before you brought this up. You never did answer the question of whether this is something you've actually tried...
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