neverending mix #2

[ernstinen]

Quote:I'm thinking I might be able to rent one and try it out, and then buy it if it sounds good to y'all.That's a great idea. I used to rent mics all the time to find one that fit my voice. Unfortunately, it was a Neumann U87 --- Ern

[hummingbird]

Quote:Quote:I'm thinking I might be able to rent one and try it out, and then buy it if it sounds good to y'all.That's a great idea. I used to rent mics all the time to find one that fit my voice. Unfortunately, it was a Neumann U87 --- Ern which brings us to question 2

[spariam]

Quote:I picked up a RODE NT1A back in January and I am super happy with it. Its a rugged piece of equipment and there is leaps and bounds in improvement in the overall tones recorded for my vocals... under $200..... and it has pretty decent reviews and respect in the recording community...ArkJackMost everything I do is computer or keyboard based these days, but I still record acoustic guitar and penny whistle quite a bit. I started using a RODE NT1A on both,and I find that I prefer the NT1A to some more expensive mics I've used in other studios.

[jeffe]

Quote:Quote:From a personal point of view I'd have to agree with the critique. Your voice came across well, and I can hear those operatic tones creeping in all the way to the diaphragm. I felt like the music needed to be bigger and wider because of your voice. Your voice has depth and tone, and the music doesn't seem to match that. Similar to what they said really. The music needs to dance with your voice in a ballroom. It's a lovely song.I have one thing to add to this. Why is it that we find it so easy to identify inconsistencies in other peoples music, but can't seem to do it with our own?When people request comments on their music. I listen and can hear specifics. When I listen to my own, I know it's not right, but I'll be damned if I can work out what is awry.Know what I'm talking about?I knew there were inconsistencies in this, that's why I asked specifically about production in the custom critique. I hear that it isn't working, but I don't have the specific knowledge to make it right. I'm hoping, with the help of folks here, to understand what I need to do to mix it effectively. However, I agree, I find it much easier to look at someone else's work and see what needs to be tweaked. I guess that's why we have mentors & critiquers Sure is.I've picked up a few valuable pointers in the last week myself. The mixed knowledge of members of this forum is essential.

[mazz]

I recommend renting or at least finding a store that will let you try out various mics.Alternatively, Guitar Center, Musician's Friend and I'm sure others have a 30 day return policy which is pretty much like renting. Buy the mic, record some tracks with it, if you don't like it, return it before the credit card bill comes in.The recommendations for the Rode mics are good ones, I've heard good things about them.A mic that intrigues me these days is a Heil PR40. It's a dynamic (like the SM57) but it's a large diaphragm. Lots of people are using them for voice overs and it's pretty inexpensive. I haven't heard one but the reviews have been generally positive.There are deals to be had on used gear as well although I'd only get something through a reputable dealer that you can interact with face to face. A few years ago my wife and I were mic shopping and we found a Neumann TLM 193 for 700.00 including shock mount which is usually 150 by itself. It was in perfect shape. We tried it out at the local shop that deals in used studio gear (they broker entire studios that go out of business) and I trust them totally. Never had a problem.The Audio Technica mics are well regarded. They have a number of models in your price range. The MXL mics are inexpensive but some of them have the "Neumann-esque" presence peak but without the smoothness of a Neumann. The tube MXL with the Mogami cable may sound pretty nice. For your voice, a tube mic might be the ticket.If I had Enya or Lorenna in my studio, I'd try 3 different mics: A solid state condenser for a brighter sound, A tube condenser for a fatter, smooth sound, a ribbon for a bit of a darker color. These are broad categories and any of those types of mics will exhibit any of the characteristics of the other but it's a good place to start.If you're near Vancouver, maybe you can rent some mics and a couple of hours in a local studio and record some things with all the mics set up at the same time, each to it's own track and then burn a CD and evaluate them on your own time.I hope this isn't overwhelming. I'm obsessive about this stuff and don't have anyone to talk with about it in everyday life so you guys get the brunt of it. Feel free to tell me to stop Ciao for now,Mazz

[arkjack]

I have the audio technica AT2020 and the MXL990. I like the MXL large diaphram, but pales next to the RODE, the small diaphram MXL is a POS.... I think my Audio Technicas are AT2020s .... again not really great.... If you remember some posts I did about my vocals being crappy, the change I made was using the RODE over the AT2020.... big improvement.... I use the AT now for instrument and amp micing..ArkJack

[mazz]

Quote:It's normaly $999.97 but Sweetwater got a B-Stock Blueberry for $649.00.That's what I would call a bargain! BLUE Blueberry B-StockMan that's a great deal! The Blue mics are very nice and if you can swing the extra bucks, I'd jump on it.Mazz

[hephaluemp]

Quote:My aim is to get to broadcast quality without going to someone else. So my question is, what specific things should I do to this mix to make it work more effectively. Panning, EQ, compression... etc? Can you help me understand how to get it to sound right? (Goal is film/tv, classical-pop crossover)Hummingbird,I see lots of people recommend you get yourself another mic.I would suggest you first use some money on a good quality reverb.If you have a fast and powerful computer, go for a convolution reverb.There are some very obvious easily fixable things in your mix:1. Too low quality reverb. 2. Wrong type, and to much reverb on the voice.3. Wrong type, and to little reverb on the other stuff.4. Not enough compression on the vocal. Try two compressors after each other. 5. Also, use a de-esser on the vocal, or if you don't have that, use a three band compressor where you just use the highest band.6. There is not enough low-end in your mix. If you mix on just small speakers, they are not capable of reproducing low frequency.Buy a sub-bass or some better headphones, or both.From my point of view these things are way more important then having another mic.That said, I myself like a good quality microphone as much as the next guy.Still, there have been lots of good records made with main vocals from a Shure SM-57/58.Bono is known to use one, and also Bjork used one for one of her records.Hepha Luemp

[og]

Quote:I hope this isn't overwhelming. I'm obsessive about this stuff and don't have anyone to talk with about it in everyday life so you guys get the brunt of it. Feel free to tell me to stop Ciao for now,MazzAre you kiddin'? This is like tech support that actually calls back! I use an AKG Perception 200 for vocals. I'm only happy with it on lower pitched songs. When I sing higher, I sound thin. Of course, that could be the pipes getting old, too...

[edteja]

Quote:4. Not enough compression on the vocal. Try two compressors after each other. Hepha LuempSo why chain the compressors. Ern was talking about 4:1 with, I believe a single compressor, but in another context Andre mentioned chaining compressors. What do you gain with that?