http://www.malonedigital.com/starwars.pdf
I've read this thing countless times but still some of the concepts and workflows and techniques evade me.
I figured this would be right up RO's alley because of all the technically inclined people here!
You don't have to be a STAR WARS fan (though it really couldn't hurt, if you are!) because this document is ALL about the recording and mastering process, in the end.
I'm hoping that the additional clarity of knowledge that I obtain here will help me make better orchestral/soundtrack recordings at home.
To get started into the "serious" stuff,on page 13, the microphone choice list to the right.
It seems that "various dynamic mikes" were used for the percussion section.
Could one of these dynamic mikes have been, possibly, a Shure SM57 ?
What other dynamic mikes of the day could have been used and WHY dynamic mikes for the percussion?
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I would imagine it's quite possible that some 57's were used. Pe
I would imagine it's quite possible that some 57's were used. Perhaps they're also Sennheiser MD 421 and/or Electro-Voice RE 20's?
Why use dynamic mics for percussion? That's also simple. The overly bright, high transients nature of condenser microphones can actually cause quite a bit of high-frequency splatter, especially on optical soundtracks like film. This is where even Classic, non-phantom powered ribbon microphones can even be more popular. This is not an unusual practice at all as most of those who know all know, this ensures no problems. Condenser microphones are not the be all end all of the only professional microphones used. A $100 SM57 is a professional microphone without breaking the bank. So just know when you record maracas, tambourine, glockenspiel, dynamics or ribbons are what you want to use.
Big-time ribbon user
Mx. Remy Ann David