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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.

Comments

harveygerst Fri, 12/28/2001 - 07:51

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.

Ted Nightshade Fri, 12/28/2001 - 08:00

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

harveygerst Fri, 12/28/2001 - 08:52

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.

Ted Nightshade Fri, 12/28/2001 - 21:10

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

Stephen Paul Sat, 12/29/2001 - 10:29

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.