I just don't understand the asshole factor on R.A.P. Instead of trying to be helpful they just want to boost their own egos. It is like everyone acts like the comic book store owner from the simpsons! Sorry... had to vent.
I'd love to figure out how to bring it over here for people who are just starting out.
Well, maybe we could start with [[url=http://[/URL]="http://www.angelfir…"]the file Tekker put together[/]="http://www.angelfir…"]the file Tekker put together[/]... with everyone's permission, of course.
I'm not sure anyone would want to read a file that's about 1/2 meg so far, and some of the important links aren't included (that I put in for reference info).
Still, it's a valuable thread for a lot of people just getting started and I think there are some points in it that are not addressed anywhere else in print.
I enjoyed your thread- a little too much, as I started on it too late at night and tossed and turned all night with microphones dancing like sugarplums...
I'm a musician first, engineer later, and I spent a lot of time on trial and error instead of book-learning. It's a kick to find from your thread and other sources that my own experiences and re-inventions of the wheel so closely parallel the established theory.
However, my experience with stereo vocals was very positive. A trick I learned from an old-timer engineer friend- two mics facing each other about eight inches apart and maybe as far in front of the singer, who gets a dummy mic "ice cream cone to suck on". I didn't hear any phase problems- what I did hear was a very lifelike sound, and the "panning" effect from the vocalist's motion was a good thing, if kept to a minimum.
I enjoyed your thread- a little too much, as I started on it too late at night and tossed and turned all night with microphones dancing like sugarplums...
I'm a musician first, engineer later, and I spent a lot of time on trial and error instead of book-learning. It's a kick to find from your thread and other sources that my own experiences and re-inventions of the wheel so closely parallel the established theory.
However, my experience with stereo vocals was very positive. A trick I learned from an old-timer engineer friend- two mics facing each other about eight inches apart and maybe as far in front of the singer, who gets a dummy mic "ice cream cone to suck on". I didn't hear any phase problems- what I did hear was a very lifelike sound, and the "panning" effect from the vocalist's motion was a good thing, if kept to a minimum.Ted,
I'm not exactly sure what that technique really buys you. Assuming the singer doesn't move his/her head too much, each mic is hearing the "exact same thing", which, even if panned as wide as possible, comes out as mono over the speakers (i.e., dead center). Net time I record vocals though, I'll give it a try, just to see what happens.
I'm eccentric enough to record vocals in a live room, so this way I get a nice stereo reverb. Also the the vocalist inevitably moves a little "too much", so you get some motion that's way more natural than panning a mono track around.
Another more significant benefit is all the plosives etc. go right between the mics. It seems like the sound out of the corner of one's mouth is big on expressive detail and low on air. I even use corner of the mouth placement with one mic, also on stage.
Now you've gotten the hang of moderating, Julian! Fuhgettabaoudit!
I notice that for once, everyone delicately stayed off my tail on this one...
So I will just say two things...
Hey, if RAP does it for ya, that is definitely cool, after all Freedom means that Fletcher can keep speaking as His Moist Esteemed and Colorful Passionate Self, (oops! That's MOST! hehe) et al...
And two: Thank God there is now a great alternative.
Comments
Jules, where did you put the life-jackets?
Jules, where did you put the life-jackets?
Hmmm... I just plonked someone from two forums for the first tim
Hmmm... I just plonked someone from two forums for the first time ever. Hey Jules, pull the plug man. This turkey is done!
Originally posted by hargerst: I'd love to figure out how to br
Originally posted by hargerst:
I'd love to figure out how to bring it over here for people who are just starting out.
Well, maybe we could start with [[url=http://[/URL]="http://www.angelfir…"]the file Tekker put together[/]="http://www.angelfir…"]the file Tekker put together[/]... with everyone's permission, of course.
I'm not sure anyone would want to read a file that's about 1/2 m
I'm not sure anyone would want to read a file that's about 1/2 meg so far, and some of the important links aren't included (that I put in for reference info).
Still, it's a valuable thread for a lot of people just getting started and I think there are some points in it that are not addressed anywhere else in print.
Hey Harvey, I enjoyed your thread- a little too much, as I star
Hey Harvey,
I enjoyed your thread- a little too much, as I started on it too late at night and tossed and turned all night with microphones dancing like sugarplums...
I'm a musician first, engineer later, and I spent a lot of time on trial and error instead of book-learning. It's a kick to find from your thread and other sources that my own experiences and re-inventions of the wheel so closely parallel the established theory.
However, my experience with stereo vocals was very positive. A trick I learned from an old-timer engineer friend- two mics facing each other about eight inches apart and maybe as far in front of the singer, who gets a dummy mic "ice cream cone to suck on". I didn't hear any phase problems- what I did hear was a very lifelike sound, and the "panning" effect from the vocalist's motion was a good thing, if kept to a minimum.
Ted
Originally posted by Ted Nightshade: Hey Harvey, I enjoyed you
Originally posted by Ted Nightshade:
Hey Harvey,
I enjoyed your thread- a little too much, as I started on it too late at night and tossed and turned all night with microphones dancing like sugarplums...
I'm a musician first, engineer later, and I spent a lot of time on trial and error instead of book-learning. It's a kick to find from your thread and other sources that my own experiences and re-inventions of the wheel so closely parallel the established theory.
However, my experience with stereo vocals was very positive. A trick I learned from an old-timer engineer friend- two mics facing each other about eight inches apart and maybe as far in front of the singer, who gets a dummy mic "ice cream cone to suck on". I didn't hear any phase problems- what I did hear was a very lifelike sound, and the "panning" effect from the vocalist's motion was a good thing, if kept to a minimum.Ted,
I'm not exactly sure what that technique really buys you. Assuming the singer doesn't move his/her head too much, each mic is hearing the "exact same thing", which, even if panned as wide as possible, comes out as mono over the speakers (i.e., dead center). Net time I record vocals though, I'll give it a try, just to see what happens.
Woop! Woop! All those not cleared for cyber sleep please leave
Woop! Woop!
All those not cleared for cyber sleep please leave the load out bay - this topic will be heading for Mars in 24 hours.
Woop! Woop!
Hey Harvey, I'm eccentric enough to record vocals in a live roo
Hey Harvey,
I'm eccentric enough to record vocals in a live room, so this way I get a nice stereo reverb. Also the the vocalist inevitably moves a little "too much", so you get some motion that's way more natural than panning a mono track around.
Another more significant benefit is all the plosives etc. go right between the mics. It seems like the sound out of the corner of one's mouth is big on expressive detail and low on air. I even use corner of the mouth placement with one mic, also on stage.
Ted
Fuggit, this has swung round to being interesting, the thread li
Fuggit, this has swung round to being interesting, the thread lives.
Haroomph!
:)
Now you've gotten the hang of moderating, Julian! Fuhgettabaoud
Now you've gotten the hang of moderating, Julian! Fuhgettabaoudit!
I notice that for once, everyone delicately stayed off my tail on this one...
So I will just say two things...
Hey, if RAP does it for ya, that is definitely cool, after all Freedom means that Fletcher can keep speaking as His Moist Esteemed and Colorful Passionate Self, (oops! That's MOST! hehe) et al...
And two: Thank God there is now a great alternative.