Quote:
|
SM57s don't start to sound good until you're at a volume level that's just unrealistic at home.
|
lol.. you should hear how loud I crank my half cab at home. I think the OP is in the best position to decide what is or isn't unrealistic in his situation. You could be right.. Maybe the guy can't even go past 2 without the police being called.
Quote:
|
An omni could certainly cause the problems you've experienced. Cardioid mics are the best choice for most situations, thats why most microphones (dynamic or condensor) are cardioid.
|
Incorrect choice of words on my part. I mean general sensitivity and the LDC's tendency to pick up a LOT more room noise than a dynamic.
Quote:
|
I don't think Yudansha is going to be recording in a particularly big room (am I wrong?) so it isn't likely to have problematic reverberation characteristics (although standing waves might be an issue when recording Bass, whatever the microphone). Isolation won't be a problem unless he's going to be recording more than one instrument simultaneously.
|
Bad sounding rooms don't have to be large. Enough of the room characteristics are easily heard when recording with LDCs at any acceptable recording volume. Obviously, if his room is treated (which I'm thinking is not), that wouldn't be an issue.
Quote:
|
You aren't going to get a mushy sounding mix if you record all your instruments with a condensor. If you have two instruments occupying the same frequency range, pan them before you start EQ'ing them. If they're still causing you a problem, EQ them gradually, remembering to cut frequencies rather than boost them. This is another reason not to use a dynamic mic in this setting: you can easily cut what frequencies you don't want from the condensor's signal, you can't easily boost what's missing from the dynamic mic's signal
|
Or you can get the instrument right in the EQ department prior to tracking, and using crafty positioning of a dynamic can go a long way to getting the sound so that you don't need to correct errors in the mixing stage. Another thing to consider is that because of the sensitivity of condensers, any background noise multiplied by all the instruments tracked is going to be a problem. Especially if you plan on compressing. Obviously, steps can be taken to eliminate that problem, but it
is home recording after all. I'm only assuming the OP probably isn't in an ideal recording environment. If his recording environment is less than ideal in terms of background noise, then recording at a low signal to noise ratio, as it would occur in a condenser setup and low source volume, there may to be issues.
Quote:
|
High passing a signal doesn't cut the highs. It leaves them in, i.e. lets them pass
|
I never said high passing cuts highs. I think you misunderstood what I typed. I said use a high pass [filter] to cut lows, and [in addition] also cut some highs [scoop it out however you like]
Quote:
|
SM57s sound great used right i.e. on very loud sound sources in studios, and for live sound reinforcement, but getting good results from them isn't practical at home.
|
I say the best way to solve this is ask the OP how loud he will be able to record, because I know that correct positioning of a 57 and right up on the grill picks up plenty when the source is at a reasonable volume... and of course, it'd help to know what type and size of amp/cab he's recording. If he's miking a stack and tube head, then yea, not reasonable.
Quote:
|
Respectfully, the length of time you've been doing something doesn't vouch for your skill at it. If you could let us listen to some recordings you've made, that would. Also the last post you made on this thread did contain some misinformation, as I've pointed out.
|
I wasn't aiming to validate the things I'm debating via how good my mixes may or may not subjectively sound. I just mean to say that I have done it plenty and have studied it plenty, I know the problems and solutions I've had in the past, and I know the theory behind them. I'm trying to be as non-subjective as possible with what I'm saying, but there's only so far you can go when methodologies contradict one another.