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Moderator: Capt. Black

#739352
Whether or not it's enough of a difference to care about is an entirely different story.


My ex in USA does voice over. She did not have a lot of money and was trying to get away with using an AT USB mic and pissing around in post to try to polish it up. I gave her an Audiobox that came with a condenser mic. Was an instant improvement. Then I gave her my Avid Mbox 3. The mic preamps were much better and improved her work a lot. Finally got her a Rode NT1 mic. The mic helped a lot too, but the biggest just up in quality was going from the Audiobox to the Mbox 3 and the better mic preamps and digital conversion. Post editing was reducing to next to nothing when she had both the Rode and the Mbox, especially noise and also plosives.
#740127
griff7628 wrote:
bender wrote:I just splashed out on an Antelope Zen Studio +

Bank balance says "ouch".


But you wont regret it I bet. Well done!
Heard great things about them.

Oh for sure. 12 preamps will be great for mobile band recording!

I meant to say- great choice on the Audient BTW.
#740152
griff7628 wrote:Yeah well my next decision is what mic to pair up with the 57 on my cab. Looking at the e906 rather than a condenser.


I've just ordered a pair of Line Audio CM3 mics. They're really highly regarded and crazy cheap. The pair should cost me approximately $360 landed. :shock:

Other good, inexpensive SDC options include anything from 12-gauge mics (they're dirt cheap and pretty decent), or a Rode NT5.

Otherwise, I'd seriously consider a ribbon mic as the second. There are a few reasonably priced options out there.
#740170
bender wrote:
griff7628 wrote:Yeah well my next decision is what mic to pair up with the 57 on my cab. Looking at the e906 rather than a condenser.


I've just ordered a pair of Line Audio CM3 mics. They're really highly regarded and crazy cheap. The pair should cost me approximately $360 landed. :shock:

Other good, inexpensive SDC options include anything from 12-gauge mics (they're dirt cheap and pretty decent), or a Rode NT5.

Otherwise, I'd seriously consider a ribbon mic as the second. There are a few reasonably priced options out there.


I've got a red and a green 12 gauge, I thought they weren't suitable for pointing at a speaker, more for room mic'ing? was thinking of recording some stuff on the katana at some stage, with a 57 on the speaker and a 12 gauge as a room mic... interested to see how it sounds!
#740172
jeremyb wrote:I've got a red and a green 12 gauge, I thought they weren't suitable for pointing at a speaker, more for room mic'ing?


I've used mine for recording at the speaker. Sounds fine although not sure how hard you can push them volume wise...I use mine for vocals mainly
#740193
jeremyb wrote:
bender wrote:
griff7628 wrote:Yeah well my next decision is what mic to pair up with the 57 on my cab. Looking at the e906 rather than a condenser.


I've just ordered a pair of Line Audio CM3 mics. They're really highly regarded and crazy cheap. The pair should cost me approximately $360 landed. :shock:

Other good, inexpensive SDC options include anything from 12-gauge mics (they're dirt cheap and pretty decent), or a Rode NT5.

Otherwise, I'd seriously consider a ribbon mic as the second. There are a few reasonably priced options out there.


I've got a red and a green 12 gauge, I thought they weren't suitable for pointing at a speaker, more for room mic'ing? was thinking of recording some stuff on the katana at some stage, with a 57 on the speaker and a 12 gauge as a room mic... interested to see how it sounds!


It's not uncommon to se a 57 and a SDC in coincident configuration right up next to the speaker. Often just gaffs taped together. The 12-gauge mics will be able to handle all but the loudest amp dimed at close range.