There don't seem many videos on this subject, so I thought I'd make one. In other videos, some of the differences between microphones, and even microphones of radically different prices, was actually quite subtle. To be honest, I usually have a goto mic for recording double basses - an AKG 414, so in this video I deliberately looked for alternatives.

Another video that came to me reading one of the many topics on the internet where people are almost paranoid about the fragility of ribbon mics and how you can so easily destroy them. I figured the science suggests such damage is highly unlikely, so I take my own ribbon - and I only own a single one - and deliberately connect it in place of an AKG 414.

Here's the reposted item on how you can record grand pianos - I'll explain what made me do it. It's quite common to record what I've always called 'natural acoustic' recordings. Solo singers of all kinds, or duos, small ensembles or choirs - often in really nice venues with great acoustics and it's the sort of thing that seems to encourage stereo recording techniques.

We've been working on another video - the idea to talk about recording saxophones, but it became obvious that many people have never looked at saxophones that hard, so the video stretched a bit - the first section looks at how saxes actually work and how you should not do certain things, and also the kind of detective work you should do when you have somebody with a sax that needs reco

I'd read a few internet posts over the past few weeks about ribbons, and they pulled up the old advice about destroying them with phantom power, so I did a little Googling and also noted many newcomers to recording really didn't ever come across fig-8 pattern mics at all - so I've been doing a few videos and did one featuring just a bit of chat about fig-8 patterns and a little demo of how they

 Recording Drum Room Mics: Mid/Side Configuration

Hello! Been a while since last time I posted here.

In all my years of recording I have never bothered to learn what the specified frequency response (FR) of a microphone really means. I have always thought it means that the mic wont capture anything outside of the FR range, but is that really true?

Here's a link to a YT video about Micing up a band using only Shure microphones. It was put together by the UK outlet PMT. Despite the myopic view and the whole presentation being OTT, there are some good hints and techniques shown.

I'm in the process of searching for a workhorse, multipattern tube mic to fill a sonic hole in my mic cabinet. The "hole" is in the low mids to mostly quality low end. In my search I've been torn between the classic 251, 67 and 47 sound characteristics. The uses will be the full range of male/female vocals, acoustic instruments and room mic. Not asking much right?