Dubstepforum.com

FSTZ wrote:haha

what do you mean phantom power??

but the plug on my computer mic in is like a headphone jack!

"I bought this mic and it doesn't work"

- says the guy that bought the marshall MXL for $50 and forgot to buy a mic pre

deadly habit wrote:

FSTZ wrote:haha

what do you mean phantom power??

but the plug on my computer mic in is like a headphone jack!

But yeah, buy an SM-57.

More records have probably been recorded with 57's and 58's than all others put together. Which is not to say how many of them were actually any good, but... yeah.

The other part of the equation - and whose importance is a matter of opinion, but it's still good to understand as best possible - is mic placement.

It's kind of a lost art these days (along with mono reference mixes and tape splicing) but it's actually kind of fun to trip around a space listening for the sweet spot as long as you're not on deadline. I remember reading about some engineers who wanted to build a robot that did nothing but mic placement so they never had to leave the control room.

Read up on the different kinds of mics (condenser, dynamic, ribbon, etc. etc.); try to get a grasp on polar patterns, making the shortest cable run possible, leakage, using gobos, and all the other operational fundamentals; and last but not least -

get a free subscription to Tape Op magazine and save back issues.

Oh yeah: don't buy a mic that's miniplug either. ...XLR or digital all the way.

ye depends on what's being recorded, I need to get a condenser for those quiet noises, and lovely high end.

the RED5AUDIO brand do good condensers cheap, anyone else used them? They sound pretty good to me and were recommended by my old lecturers.

http://www.red5audio.com/ukaboutus.htm

http://www.red5audio.com/acatalog/Condensor_Mics.html

alphacat wrote:More records have probably been recorded with 57's and 58's than all others put together. Which is not to say how many of them were actually any good, but... yeah.

The other part of the equation - and whose importance is a matter of opinion, but it's still good to understand as best possible - is mic placement.

It's kind of a lost art these days (along with mono reference mixes and tape splicing) but it's actually kind of fun to trip around a space listening for the sweet spot as long as you're not on deadline. I remember reading about some engineers who wanted to build a robot that did nothing but mic placement so they never had to leave the control room.

Read up on the different kinds of mics (condenser, dynamic, ribbon, etc. etc.); try to get a grasp on polar patterns, making the shortest cable run possible, leakage, using gobos, and all the other operational fundamentals; and last but not least -

get a free subscription to Tape Op magazine and save back issues.

Oh yeah: don't buy a mic that's miniplug either. ...XLR or digital all the way.

yes, the sm57 and 58 are great mics for guitar cabs, snare drums and live performance

they are so good they havent changed a thing since the 60's

Got the audio technica 3030 for $135. Amazing quality for the price. But for real.

FSTZ wrote:yes, the sm57 and 58 are great mics for guitar cabs, snare drums and live performance

they are so good they havent changed a thing since the 60's

And you can throw 'em against a fuckin' wall and they'll still work fine.... but I wouldn't recommend it.

Used to use a 58 on stage with my old band: things happened to that mic that should never happen to any mic, and yet - I still have it and it sounds as good as the day I bought it.

a cheap mc?

You just wanted an excuse to post that, didn't you?

You could use the rock band mic to record stuff which is what I use.

rhode m3's arent bad.


Btw to the OP. I think you didnt realise you just opened a whole barrel of worms.

alphacat wrote:

FSTZ wrote:yes, the sm57 and 58 are great mics for guitar cabs, snare drums and live performance

they are so good they havent changed a thing since the 60's

And you can throw 'em against a fuckin' wall and they'll still work fine.... but I wouldn't recommend it.

Used to use a 58 on stage with my old band: things happened to that mic that should never happen to any mic, and yet - I still have it and it sounds as good as the day I bought it.

now that'll i'll disagree with. they can take some abuse but the sennheisers and ev are much better in that department. dent a screen on a 58 and it sounds like shit

see, if you damage the crown on a sm58 you fuck up the polar pattern which will cause the mic to feedback

I was looking for a mic as it goes. I wanted to try and record some vocals, would the Shure sm57 be ok for that at home?

Seem to have posted the same thing twice, mods just delete this post.

I got a Rode NT-1A and for the price it's pretty outstanding....a bit more pricey though.

serox wrote:I was looking for a mic as it goes. I wanted to try and record some vocals, would the Shure sm57 be ok for that at home?

the only diff between the 57 and 58 is the screen
guts wise they are the dame

If still recomend the RV6 http://www.red5audio.com/acatalog/Condensor_Mics.html. For the money you wont get a better condensor (gauntlet layed)

serox wrote:I was looking for a mic as it goes. I wanted to try and record some vocals, would the Shure sm57 be ok for that at home?

you might want an SM58 so you dont cut yout lips (SM57 is more for instruments / SM58 is for vocal use)