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Discussion in 'F.O.H.' started by outloaf, Dec 15, 2009.
Cathedral ceilings ftw!
Even if I sent an ice picky super harsh tone into my royer it wouldn't sound harsh. That mic needs all the treble it can get so push it back to the center. It does sound restrained. The R121 is a figure 8. You are probably picking up a lot of shit on the backside. 8 x 8 is small and you will be getting a lot of bouncing in there. The royer is harder in a small room than something like an SM57. Hang a heavy blanket or something around the back side to block reflections from going into the back of the mic.
Ah yes, so think I'm getting comb filtering into the back of the royer?
Here's the big room.. I reamped 3 times... first was a greenback, then a v30, then a gt75 all on center tilted slightly foreward about 5 inches away from grill. no eq,compression, or anything. raw tone.
not just comb filtering man, but dickloads of reflections
ribbons like royers are GREAT mics for guitar cabs if the room is up to par. if not, especially with an untreated 8x8 space, the backside of the ribbon is going to pick up every nasty piece of shit reflection in there. the most immediate improvement you can make is to ditch the figure-8 royer and use any sort of cardioid mic...and then later, of course, throw as much rigid fiberglass on the walls as you can stand
last project i did, i tracked in a room with wood floors for the 1st time...and even with no treatment and little detail to mic positioning, they were easily the best tracks i've gotten outside of a large, professionally designed/treated room
best part is that it was my own dining room
I have "vocal" room which is the 8x8 completely blanketed.. unfortunately the low end is nausiating. as far as high and high mid reflections, there aren't any.. but I already noticed a big difference putting the cab in the big room with the royer.. I should just get some thick blanketing to cover the amp and mic to try and tame the bounce back probably...
you probably just "did it" right? see, when I didn't think or put any time into a project.. it would come out great.. the second I start thinking and pouring over it.. it becomes a nightmare.
yea i pretty much just winged it
of course i applied certain steadfast principles like making the OH's equidistant from the snare along with the same height from the floor, adjusting the snare mic so the hat was in its null, etc. etc....but i also didn't spend much time poring over the placement of each mic either
and now that i think of it, the kick mic ended up sounding like total shit, but ol' drumagog fixed that real quick
I recorded this in a small room when I first got the mic but I'm pretty sure I did have a heavy blanket behind it. There's a 1.5-2 boost at 1.5k and 4k with a 65/12k HP/LP. I'm at work so I don't have the untouched clip but it's not much different than this one.
and here is the v30 with the blanket draped over .http://drop.io/v30blanket
man, I just wonder how andy and colin get those out of the speakers mix... has to be mid/side nonsense
No way dude, Andy is pretty much the definitive bare-bones rig guy; he's said on countless occasions that for all his recent stuff, the amp and cab may change, but he always uses just one 57 and little to no post-eq'ing!
And Colin, well, I haven't heard much of his stuff, but what I have heard I haven't been too crazy about, relatively speaking
True.,.. but I don't for a second believe that he actually uses just one 57... and the stereo spread on his albums are far too wide for just hard panning( which he claims he doesn't do) but.. it seems like he does.
I absolutely believe it, if there's one thing I've learned about most real pros (especially Andy) it's that they have no problem sharing their "secrets" because their ears and experience are the real talent, and no amount of PRO TIPS are gonna enable anyone else to come close without them!
If want to try eliminating the room sound all together your best bet is to create an open ended sound board tunnel to surround your mic & speaker and place the lot at 45 degrees to any adjacent walls . The longer the tunnel the less room sound creeps back in . Its a Collin Richardson trick , he used the same technique for kick drums by gaffer taping one extra bass drum shell to each kick drum to make them longer.
This is a near perfect explaination. Good work
It's about the ears and the experience. Send a n00b into Andy's studio and tell him to make a record
I most certainly do agree that it is all their ears.. but everyone has a little trick.. Im sure his cranesong 8 channel preamp monster does make things sound the best that they could ever sound.. so ..ya know it may be a 5% difference, but that 5% does help. I'd just love to know what that little difference sounds like.
I don't think it's even 5%. I've heard plenty of preamp shootouts that you would have no idea what went on (esp in a mix).
I guess I just don't wanna accept that the fireface is as good as it gets.. because I've used the dual avalon and.. it just had some extra smoothness to it. ya know?
Oh by the way.. me and my roommate turned that horrid thing into a shitty christmas song. Here.. merry xmas all. http://drop.io/merryxmasbad