Recording vocals on the road

chriskorff · Post by **chriskorff** » Mon Feb 05, 2007 12:47 pm

Hi,

I just skimmed everyone elses replies so if someone else mentioned this then I'm sorry, but...

You might want to try two ribbon mics (or other figure-8 polar patterned mics). Just aim the null point of one mic at the guitar for recording the vocal, and the null point of the other mic at the singer, with the null pointing at the guitar. It's probably the best way to keep good separation for sorting levels/fx later, provided there's no reflective surfaces at the other side of the mic. A duvet or blanket should do the trick.

Also, I find ribbon mics sound good for vocals and acoustic guitars, fairly close to source though as they tend to have a low output. Also, phantom power wouldn't be a problem either.

Just my 2p.

Chris

Michu · Post by **Michu** » Mon Feb 05, 2007 1:39 pm

That Heil stuff looks like something i should look into when i'll be lookin for some mic again.
Very useful info Gary, much appreciated

Mr Arkadin · Post by **Mr Arkadin** » Mon Feb 05, 2007 1:52 pm

i know ribbbon mics have come a long way but aren't they still quite delicate compared to other types? Not sure how robust they'd be for travelling etc. Just a consideration (may very well be wrong).

astroman · Post by **astroman** » Mon Feb 05, 2007 3:19 pm

I agree with Michu, big thanks - never heard or read of the company before.
looks like they made their homework - and I might eventually build the discrete mic pre with the monster specs, which only couldn't handle... phantompower

I'm not familiar with the exact climate at the destination, but moisture could be come a problem for condensors, couldn't it ?

cheers, Tom

Post by **garyb** » Mon Feb 05, 2007 5:25 pm

Mr Arkadin wrote:i know ribbbon mics have come a long way but aren't they still quite delicate compared to other types? Not sure how robust they'd be for travelling etc. Just a consideration (may very well be wrong).

definitely. the Heil is not a ribbon, however. it's a dynamic, very robust.

Post by **garyb** » Mon Feb 05, 2007 5:27 pm

astroman, Heil was just inducted into the rock and roll hall of fame

he invented the talk box and made one of the early commercial sound systems(for big shows).

astroman · Post by **astroman** » Mon Feb 05, 2007 7:18 pm

no wonder I removed that from my mind - couldn't stand Frampton 'coming alive'

and when I later learned about the working principle of that thing I was close to vomit
sorry for being so sensible, but it's the materialization of uglyness for me

cheers Tom

Post by **garyb** » Mon Feb 05, 2007 10:51 pm

frampton or the talk box?

actually, the talk box is pretty cool. an elegant design. a truly analog vocorder....

Michu · Post by **Michu** » Tue Feb 06, 2007 4:03 pm

heh, i can see the Astro's reaction to the idea of using a talkbox that was previously used by someone else

as far as Heil goes, given my eastern european location, it was filed under exotic until now

spacef · Post by **spacef** » Thu Mar 22, 2007 11:21 am

the heil pro 40 is a great microphone of its kind. it is excatly what i was looking for (a dynamic, but which is good as a better mic)... I appreciate a lot not needing any power supply or 48v. highly recommendable. it comes in a metalic box and can be brought on the road. i use mine for recordings.

My mic experience
- sm58, beta 58 and other standard mics
- rode NT2 (owned, resold)
- at4040 (owned, resold)
- JoeMeek TB47 (owned, a bit "quite dead" at the moment, faulty phase issues).
- neumans of different models in various studios
- Mics that I do not know but that i hear on tracks that are sent to me for mixing

the Heil is definitely better than any other dynamic mic i've tried (especially, it is far away from the sm and beta 58 i use at home). much better definition. It also definitely suppress my thoughts about getting a new Rode nt2 or AT to replace the tb47. Moreover, in comparison to other "high end" dynamics i've tried (audio technica), it seems to be a bit more in the direction of condensors (soundwise).
I am not too much advanced with its use, but it seems quite flexible when it comes to mic positioning. The way the sound changes according to the position seems very useful to me (at least more easy to set up than on the tb47 for ex) (i tried with a nylon guitar: the recorded sound is very pleasant.

A happy customer.

katano · Post by **katano** » Fri Mar 23, 2007 1:08 am

spacef

do you know how the heil pro 40 does compare to the sennheiser md441?

cheers
roman

ps.: this weekend i'm finally able to install and try my blackbox fx bundle

spacef · Post by **spacef** » Fri Mar 23, 2007 2:08 am

Hello Katano,

Unfortunately, I do not know this mic Seinheiser Md441.... However, I can tell you that its price (around 950 usd as i found on the net) is more than twice the price of the Heil Pro40 and is close to the price of a good tube microphone (tb47 was 1000 euros, ie more than 1200 usd approx: it's simply the fatest mic i've ever worked with, but it is super fragile, and no standard spare parts exist (even the tube is not the classic ax, but a russian triod or something).... Price is not necessarily a way to compare, but at this level, may be.

That's the problem with microphones: it's difficult to test before a purchase.
Moreover, my experience shows that an expensive microphone is not always the best choice. For some voices or styles of music, a large diagram tube condenser microphone is not always the best choice (especially if you do not have an isolated recording booth).
On some people, tube mics give you a great sound, but will also provide you with extra work dessing the track (on myself for, my "s" become too proeminent with a tube mic: so it means cutting around each s in the track and lowering their volume (that's the only desser technic i use, having used dessers, i truely dislike them for being frequencies destructors, that remove alot from a track's feeling).

In a pro studio, we made a recording with an Audio Technica that was bought new 200 euros (i don't remember the model, i know they don't make them anymore as it was for some kind of event/aniversary or something). The sound was great (the source voice was great anyway, and the recording was pretty hot and detailled. nothing to envy to much expensive mics really, to my surprise).

It depends what you are recording too. For acoustic guitars for exemple, I think tube mics are the best .
And the style is important too. If you are into mainstream variety, then the best is the better. If you mix for dancefloors, then it is not necessary or even useful to have such expensive mics....

now, a seinheiser with all those features and with such a price is certainly not a wrong way to go... make sure it fits the application you want to use it for and then at this level, the sound should be fine enough..