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Radio Broadcast typically uses large diaphragm dynamic mics like an EV RE20 The SM58 is typically a vocal mic BTW it has a built in (albiet crappy) pop filter. But it's the same capsule as the 57.
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Jan 8, 2015 00:48
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Ah fair. It's a college station that doesn't do anything live so no idea exactly what's at our disposal during weekends, but I can at least get a list before time and work out best arrangement. Yeah I found with the 58 that pushing up the gain seemed fine for speaking down so would be enough to at least do test runs with I'm sure.
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Jan 8, 2015 01:09
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himajinga posted:That looks to be pretty much exactly what you need for a podcast. Condensers are what people in radio use since they'll be more articulate for lower volume conversations than 57s generally but if they sound ok to you as is then it's not a big deal. To be fair, the much vaunted RE20 is a dynamic that basically made its name in the radio field. (Editor's note: I want one!)
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Jan 8, 2015 01:44
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Here goes, after years of playing guitar/various instruments I took the initiative to study what it's like to record for myself. About 4 months of research (To go with a semester of college work as a music major) and I am really eager to begin. Please let me know if you, the much more experienced musicians, see something awry with my plans as I start from scratch for a home studio: Mac Mini/Logic Focusrite Scarlett 18i8 USB 2.0 Audio Interface - I wanted more than 2 Mic pres so I could do more than just 2 mics on a drum kit. This may be inexperience/ignorance but my belief is that I also would use the first 2 Direct instrument inputs to record, say, a guitar and bass track simultaneously? 2 Presonus Eris E5's Shure 57 2 MXL 990's Thoughts/Suggestions?
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Jan 10, 2015 21:17
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frindle posted:Here goes, after years of playing guitar/various instruments I took the initiative to study what it's like to record for myself. About 4 months of research (To go with a semester of college work as a music major) and I am really eager to begin. Please let me know if you, the much more experienced musicians, see something awry with my plans as I start from scratch for a home studio: Well it looks good, I'm not familiar with the MXL mics so I cant speak to that. Also while i have the 18i20 and really like it, I know people have had issues with some of the Scarlett interfaces in the past. And yes, the 2 combo interfaces do negate the need for a separate DI box when recording instrument-level signals.
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Jan 10, 2015 22:15
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Get those 990s and if you feel the need to step up a tax bracket, hit up Michael Joly: http://www.oktavamodshop.com/product_info.php?products_id=114&osCsid=6438b9a50a24b72c262b559f776a0e7b
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Jan 11, 2015 00:13
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I love the ability to upgrade without making my original purchase useless, so I'll definitely look into that MXL 990 mod. Appreciate the feedback from the both of you
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Jan 11, 2015 04:15
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My pop-filter is too heavy for my mic stand.  No matter how hard I screw the stand up, it keeps drifting down. And I reckon the only problem is that I bought a cheaper version of the pop-filter, which for some reason includes a heavy metal plank. Mainly because it was recommended to me by the shop assistant who realized that no amount of persuasion on his part would turn me into a millionaire (with regards to other purchases I made that day, the difference between the pop-filters was negligible), and also I think it's a natural assumption that when a thing comes with more parts, it A) should be more expensive, B) is better. And now I might as well hold the pop-filter myself, or at least support the stand, neither of which is very helpful.*When I say "stand" here I refer to its arm, of course.
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Jan 21, 2015 13:41
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If it's just one of the friction fit type of hinges you could unscrew it and put a bit of electrical tape or similar over the middle piece and then screw it back together, the slight extra thickness and grippy nature of the tape should stop it slipping while still remaining adjustable.
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Jan 21, 2015 15:48
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Now to find some of this tape (I don't think regular scotch-type tape is going to do since it's usually quite slippery on the outside). Although, it's going to be tricky since there are two rubber disks with holes there. I mean, it still should work, if I put a bit of tape around the hole?
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Jan 21, 2015 17:10
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Yeah anything to add a bit of extra grip somewhere in the hinge mechanism should work ok.
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Jan 21, 2015 23:37
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Please critique my setup I'm a mostly acoustic and voice person in my small 1br apartment and am sick of the absolutely tinny response of my $10 regular microphone. I have a recently built Windows machine with plenty of processing power and have been working mostly with Audacity but am considering moving to Reason. I own a couple of guitars, a bass, and an arturia miniBrute. I'm looking at getting an audio interface and a microphone or two for better recording: Scarlett 2i2: http://smile.amazon.com/Focusrite-2...usrite+scarlett Shure SM57: http://smile.amazon.com/Shure-SM57-LC-Cardioid-Dynamic-Microphone/dp/B0000AQRST/ref=sr_1_1?ie=UTF8&qid=1422151831&sr=8-1&keywords=shure+sm57 I think this is the bog standard beginner recording setup, but I'd love recommendations on a few fronts, like should I buy 2 microphones off the bat for stereo and should I buy 2 SM-57s or a separate model for vocals. Edit: probably also a desk based microphone stand or two? http://smile.amazon.com/ChromaCast-...icrophone+stand
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Jan 25, 2015 03:14
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Butt Bidness posted:Please critique my setup The standard question: what's your budget? And what kind of music are you making? Personally I like the Rode NT1A for a beginner if you're doing mostly acoustic stuff because you can get a pretty nice tone out of placing it at the 12th fret on an acoustic, and then use it for vocals. If you're doing electric guitar the 57 is a great choice. You can remove the transformer to give it a little extra life too. For bass you may want to track to DI rather than use a microphone, depending on your setup. The Minibrute will also track to DI - the Scarlett has a couple of DI inputs I believe so you're OK there. Stereo is nice for acoustic guitars - put an XY array out front of the guitar where it sounds good - it's by no means a necessity though. You won't need it explicitly for any other instruments you mentioned. The SM57 can be used for a vocal mic with decent results, Julian Casablancas used one for all the Strokes vocals for example. But a "dedicated" vocal mic is often a condenser type like the NT1A. strangemusic fucked around with this message at 06:09 on Jan 25, 2015 |
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Jan 25, 2015 06:06
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Butt Bidness posted:Please critique my setup Just a heads up, but I have heard the SM57 can have gain issues for vocal/acoustic guitar recording with the Scarlet. I got a SDC mic for my mandolin (a AKG Precision 170) and it sounds pretty nice with no problem with gain. I even use the mic for vocal work for podcasts.
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Jan 25, 2015 08:35
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Thanks for the input. Budget is probably around $300, and music style is typical singer-songwriter Elliott Smith/Iron & Wine/Mountain Goats stuff. I have no plans to move beyond acoustic guitar and analog synth at this point. So I'm getting that the SM57 is OK for a wide variety of applications, but a condenser mic might be more appropriate for an acoustic/voice combination? I'd definitely like more warmth to come through. That being said, I vastly prefer recording acoustic guitar/vocals as one take, so if that's not terribly appropriate to a condenser mic that may change things.
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Jan 25, 2015 09:58
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Butt Bidness posted:Thanks for the input. Budget is probably around $300, and music style is typical singer-songwriter Elliott Smith/Iron & Wine/Mountain Goats stuff. I have no plans to move beyond acoustic guitar and analog synth at this point. So I'm getting that the SM57 is OK for a wide variety of applications, but a condenser mic might be more appropriate for an acoustic/voice combination? I'd definitely like more warmth to come through. One-mic for a singer/songwriter setup is actually relatively OK, it just comes down to positioning. If you look at Death Cab for Cutie "I Will Follow You Into The Dark" for example, that's one mic in front of Gibbard and his guitar. Somewhere angled/rotated so you can catch the voice as well as a decent tone from the guitar... this is where the fun of engineering comes in and knowing how your mics' polar patterns can be played with. A 57 or almost any dynamic mic is going to be a bit more directional due to its design, and will likely perform worse when dealing with off-axis or distant sources - things it's not pointed right toward. I'd definitely go with a large diaphragm (not pencil style) condenser for that kind of one-take thing if you want to do it (used to work at a studio that just dropped a U47 in front of anyone solo acoustic/singing, get it in the right spot and all you have to do is turn the gain up!) There are many budget-friendly condensers out there, some better than others. Rode, Blue, MXL, Shure, SE Electronic and so on. Advanced Audio is a Canadian company that makes some very affordable and solid stuff too. As an additional note, Elliott Smith was also one of the best vocalists to stick with the humble SM57 for all his vocal recording... strangemusic fucked around with this message at 22:19 on Jan 25, 2015 |
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Jan 25, 2015 21:53
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strangemusic posted:One-mic for a singer/songwriter setup is actually relatively OK, it just comes down to positioning. If you look at Death Cab for Cutie "I Will Follow You Into The Dark" for example, that's one mic in front of Gibbard and his guitar. Somewhere angled/rotated so you can catch the voice as well as a decent tone from the guitar... this is where the fun of engineering comes in and knowing how your mics' polar patterns can be played with. A 57 or almost any dynamic mic is going to be a bit more directional due to its design, and will likely perform worse when dealing with off-axis or distant sources - things it's not pointed right toward. I'd definitely go with a large diaphragm (not pencil style) condenser for that kind of one-take thing if you want to do it (used to work at a studio that just dropped a U47 in front of anyone solo acoustic/singing, get it in the right spot and all you have to do is turn the gain up!) Something like this? http://smile.amazon.com/MXL-Large-Capsule-Condenser-Microphone/dp/B000JRPYGE/ref=sr_1_3?ie=UTF8&qid=1422231227&sr=8-3&keywords=mxl+condenser Or any of the other MXL condenser mics (770, 990, V67i)? These fall in my budget with an audio interface around $150. edit: or does the MXL 2006 have a larger diaphragm? I'm struggling a bit with this: http://smile.amazon.com/MXL-Diaphra...s=mxl+condenser
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Jan 26, 2015 01:16
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Hey I'm going to be selling quite a few mics in the next couple days for legit prices. I'll have an LDC for you, hold off for a bit.
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Jan 26, 2015 01:22
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Any tips on recording a small space with a Blue Yeti Pro? It's a condenser mic with stereo, cardoid, bi-directional and omni patterns. I just play for fun with some friends occasionally in one of their living rooms. We still want to be able to have a nice recording if something comes out cool, though. Right now we have it up on a boom with a shockmount and just kind of have it in stereo in front of us in the middle of the playing area while we noodle around. USB into a laptop. Any other recommendations for that kind of space? Oh, also I lent my Steinberg UR22 to a buddy and he fried it (I forgot to tell him not to gently caress with the phantom power). Any recommendations on a replacement that can handle 3 inputs? I record my digital piano sometimes (two inputs for stereo) and would like to be able to throw my voice in there in the moment if I'm feeling it. Incredulous Dylan fucked around with this message at 21:21 on Jan 26, 2015 |
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Jan 26, 2015 21:06
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I recorded a voice over using Adobe Audtion CS6. I was able to clean up the background noise (hiss) using noise reduction process, but there seems to be a noise that sounds like a plate reverb in the vocals. What is this, and how do I eliminate it? Also, how do I tone down the 's' in the speech.?
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Jan 31, 2015 17:35
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KING BONG posted:I recorded a voice over using Adobe Audtion CS6. I was able to clean up the background noise (hiss) using noise reduction process, but there seems to be a noise that sounds like a plate reverb in the vocals. What is this, and how do I eliminate it? Also, how do I tone down the 's' in the speech.? Noise reduction plugins and software tend to add musical noise if you go overboard with them. It's an artifact of the way noise is removed (analyzing the noise patter and cutting certain frequencies by certain amounts). Using a better noise algorithm helps (Izotope RX is my favorite), and also removing a little at a time and doing a couple passes helps. If it's too noisy, you probably won't be able to get rid of all the noise without adding in artifacting.
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Jan 31, 2015 23:35
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Izotope is seriously a lifesaver.
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Feb 1, 2015 00:56
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I do a podcast and up until recently I've used 2 shure M57 mics plugged into a Tascam US-122L audio interface into a macbook pro using Garageband. Unfortunately my macbook died and I need a new audio interface because the US-122L is not supported by 64 bit systems, like my new windows 8 laptop. My podcast is just talk and it gets compressed down to a 96 kpbs mono mp3, so I don't need anything fancy, just USB based, and can handle 2 XLR inputs minimum - although 4 would be nice (I could expand) - Also, what's better for audio editing on windows than Audacity? I'd like something comparable to Garageband if possible.
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Feb 3, 2015 01:49
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clockworkjoe posted:I do a podcast and up until recently I've used 2 shure M57 mics plugged into a Tascam US-122L audio interface into a macbook pro using Garageband. Unfortunately my macbook died and I need a new audio interface because the US-122L is not supported by 64 bit systems, like my new windows 8 laptop. My podcast is just talk and it gets compressed down to a 96 kpbs mono mp3, so I don't need anything fancy, just USB based, and can handle 2 XLR inputs minimum - although 4 would be nice (I could expand) - Also, what's better for audio editing on windows than Audacity? I'd like something comparable to Garageband if possible. To answer your last question: Reaper.
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Feb 3, 2015 02:02
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clockworkjoe posted:My podcast is just talk and it gets compressed down to a 96 kpbs mono mp3, so I don't need anything fancy, just USB based, and can handle 2 XLR inputs minimum - although 4 would be nice (I could expand)
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Feb 3, 2015 02:36
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iostream.h posted:Look at some of the mobile units from Presonus, I've used several, their pre's a a bit warm and somewhat grainy (in a good way), but they're clear and have a nice character to them at good prices. Like the Presonus AudioBox 22VSL?
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Feb 3, 2015 03:16
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clockworkjoe posted:Like the Presonus AudioBox 22VSL? Honestly, if you're converting to 96kb/s mp3 files, there's no reason you couldn't go with the cheaper AudioBoxUSB. As near as I can tell, the only big difference is that it doesn't do 96kHz recordings (only 44.1/48), but that shouldn't matter for your purposes, and it's $100 less. Unless anyone else can figure out why the VSL is more expensive, that is. I had an AudioBox USB as my first interface and it was solid as a rock. Same preamps as the 22VSL, I think.
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Feb 3, 2015 03:21
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clockworkjoe posted:Like the Presonus AudioBox 22VSL? MockingQuantum posted:Honestly, if you're converting to 96kb/s mp3 files, there's no reason you couldn't go with the cheaper AudioBoxUSB. They're all pretty good units.
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Feb 3, 2015 03:36
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iostream.h posted:Yup, I was thinking 'Firebox' but I believe it was Firewire (and is now discontinued anyway). The 22VSL looks like the same thing, just updated. I looked again, and the only thing besides 96kHz that I could tell was different was that you got a Virtual StudioLive (thus VSL) mix rack with some effects off of the StudioLive. Having used the StudioLive, and Reaper, I can def say that Reaper will suit your needs better than the included effects. So yeah, if you don't need 96kHz recording, no need for the VSL.
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Feb 3, 2015 03:54
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MockingQuantum posted:I looked again, and the only thing besides 96kHz that I could tell was different was that you got a Virtual StudioLive (thus VSL) mix rack with some effects off of the StudioLive. Having used the StudioLive, and Reaper, I can def say that Reaper will suit your needs better than the included effects. So yeah, if you don't need 96kHz recording, no need for the VSL. Thanks - I think I'll get the 22VSL though because judging from user reviews, it seems sturdier and some people had problems getting the audio box to work with windows 8. I want something that will last and will definitely work with my windows 8 laptop. The price difference isn't that much either.
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Feb 3, 2015 04:01
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clockworkjoe posted:Thanks - I think I'll get the 22VSL though because judging from user reviews, it seems sturdier and some people had problems getting the audio box to work with windows 8. I want something that will last and will definitely work with my windows 8 laptop. The price difference isn't that much either. I'm willing to bet they're not that physically different, Presonus uses similar chassis on everything, but I'm guessing a quick trip to a Guitar Center or something would answer that conclusively. And I can't imagine the drivers are in any way different, fundamentally speaking-- every piece of Presonus gear I've used has the same ASIO interface, at least, so I don't know how much weight you can give those reviews. If you can find it somewhere for less than $200, that's one thing, but otherwise I'd say you're spending extra money for nothing.
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Feb 3, 2015 06:20
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MockingQuantum posted:If you can find it somewhere for less than $200, that's one thing, but otherwise I'd say you're spending extra money for nothing.
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Feb 3, 2015 06:31
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Hell, if you're buying from Amazon, get a Focusrite. It's cheaper.
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Feb 3, 2015 06:44
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MockingQuantum posted:Hell, if you're buying from Amazon, get a Focusrite. It's cheaper.
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Feb 3, 2015 09:31
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Hey guys, I'm looking for a cheap, passable sounding microphone that I would use to record hand percussion such as shakers, tambourines etc to add to electronic tracks. I have a behringer uca202 usb interface, which only has stereo rca inputs so I think some sort of usb solution will probably be the easiest? Any recommendations?
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Feb 5, 2015 03:23
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http://www.amazon.com/Avid-Firewire...ywords=protools Is this a good starting kit for a complete beginner in music production? Also are their specif programs that are better for electronic or hip hop.
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Feb 7, 2015 00:00
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How would I go about sending audio from an HDTV to a mixer? The back of the TV looks like this:
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Feb 8, 2015 10:13
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codyclarke posted:How would I go about sending audio from an HDTV to a mixer? The back of the TV looks like this: First, ugggghhhhh.... clean that thing up. Top port should be a 1/8'' stereo rca mini jack (the thing at the end of a headphone cable). Mixers usually take 1/4'' mono jacks for inputs, though it's not unheard of for, say like a DJ mixer to have rca plugs. So, probably what you want to do is get a cable that is 1/8'' stereo mini jack (male) on one side and a pair of 1/4'' mono jacks on the other. First thing that comes up in an amazon search http://www.amazon.com/GLS-Audio-Y-C...%2F4%27%27+mono
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Feb 8, 2015 10:40
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Sizone posted:First, ugggghhhhh.... clean that thing up. Top port should be a 1/8'' stereo rca mini jack (the thing at the end of a headphone cable). Mixers usually take 1/4'' mono jacks for inputs, though it's not unheard of for, say like a DJ mixer to have rca plugs. Thanks man! And yeah, didn't realize it was that dusty until I used flash on it.
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Feb 8, 2015 10:42
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Most mixers will have a stereo input bus as well, so check what inputs you have available. A 3.5mm (1/8") to 2x RCA cable will probably be your best bet as it won't mean going across 2 channels, and thus two faders. I have a 16 channel desk and I have 3 sets of stereo pairs in that, but smaller desks will probably have either a single set or a Rec In or similar.
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Feb 8, 2015 14:49
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