Thanks
I'm never sure if violins should be like cream or like carborundum 🙂 but I used to like reproduction of them that gave the illusion that one could see the bow on the string near the bridge . . . until I sat back in a concert and heard it smooth. Having been at the recording session, I feel that the dynamics might be closer to the smoothness . . . and a violinist of some standing and great experience is coming to record in a few week's time. Of the different results available from my mics he's chosen the D202, which is interesting.
The reason why I'm asking for opinions on the recording with these different mics is that I'm not looking for what sounds real to me, or what _should_ sound real but what people actually like to hear. Reception of recorded sound nowadays is through a great diversity of equipment, much not manufacturered to the hifi standards or expectations of the past.
On YouTube I used a pair of D202s although subsequently discovering one wasn't as flat as it should have been, and mixed in 10% the Frankenmic to give ambience of the auditorium and a hint of sparkle.
Repairing mics is interesting. Are D224s with broken treble units worth bothering with?
I've got a number of units with hideous frequency responses -
Is this sort of thing anything upon which you can work magic?
Best wishes
David P
I'm never sure if violins should be like cream or like carborundum 🙂 but I used to like reproduction of them that gave the illusion that one could see the bow on the string near the bridge . . . until I sat back in a concert and heard it smooth. Having been at the recording session, I feel that the dynamics might be closer to the smoothness . . . and a violinist of some standing and great experience is coming to record in a few week's time. Of the different results available from my mics he's chosen the D202, which is interesting.
The reason why I'm asking for opinions on the recording with these different mics is that I'm not looking for what sounds real to me, or what _should_ sound real but what people actually like to hear. Reception of recorded sound nowadays is through a great diversity of equipment, much not manufacturered to the hifi standards or expectations of the past.
On YouTube I used a pair of D202s although subsequently discovering one wasn't as flat as it should have been, and mixed in 10% the Frankenmic to give ambience of the auditorium and a hint of sparkle.
Repairing mics is interesting. Are D224s with broken treble units worth bothering with?
I've got a number of units with hideous frequency responses -
Is this sort of thing anything upon which you can work magic?
Best wishes
David P
Attachments
A working D224 is a valuable mic. They are notorious for the LF breaking.So you would probably get takers if you wanted to sell the broken one with the HF missing. The D224 repair can be difficult.The voice coil breaks due the stupid way AKG organized assembly. I don't repair mics other than the ones I own, or for close associates. Too much work.
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