Posts in microphones
Unusual session... For me, anyway.

I had an interesting session recently for The Small Brain Curds, a four pice band featuring Motown and soul tunes.
They wanted to record a cappella arrangements of a few of their favorites. I thought the best way to approach this with a band that’s most used to playing in a room together is to record it the same way. All live, all at once. When thinking about the best mic technique for this I asked for advice from the great Slau, and of course, he came through with an idea I had never heard of and surely wouldn’t have thought of on my own.

I placed my pair of Cascade Fat Head II ribbons with the stereo bar as if setting up for blumlein in the center of the room. The figure eight patterns of each mic facing (almost) the corners of the room. 

(I say almost because we avoid facing the walls to reject reflections but directly pointing them at the corners could have its own problems. So just off from the corners is best) 

The performers stand facing each other like an X around the microphone array. Each mic hears two voices, one on each side, and the other two voices are in that mic’s rejection nodes. With careful listening the voices can be balanced by moving closer or farther away from the mics. This allows the performers to hear and see each other easily which is crucial to this sort of recording. Each singer was about 20 to 26 inches from the mic depending on how loud they were which turned out to be far enough to avoid any need for a pop screen and problems with the ribbon’s powerful proximity effect.This technique picks up quite a bit of room sound so I was glad I put so much into good acoustic treatment but I also hung up my blankets and gobos behind the singers to cut out even more. 

 Small Brain Curds recording at Railroad Avenue

You can see in the picture I placed my Rode NT2 in omni mode in the center of the pattern also. I recorded this to a third track with the idea that I might want to mix in some high end but the Fat Head II’s gave me everything I wanted so the track was muted in the mix.
The simple two tracks made the mix feel more like mastering. Some gentle multiband compression helped to even out the high and low octave voices.

Thanks to Slau for the great technique. Another tool to remember.

A final mix from the session…

Forging Reverie Vocal Shootout!

i’ve uploaded samples of 10 different vocal microphone setups, we want you to listen to them and vote for the one you think sounds the best!

here they are, get to it!

Forging Reverie vox test . zip

just download the zip and play the high res files.  swap back and fourth until you find the one you think sounds the best and post your pick in the comments.  thanks!

more guitar, keyboard, and we might need your help...

tracked my keyboards and almost done with guitars.

keys are recorded midi into Reason 4 with stock libraries and the Abbey Roads Keyboard refill.  the challen piano and the hamond organ in that pack is unbelievable…  re-wire that back into pro tools.  maybe i’ll re-amp some of this through some pre’s or other outboard gear if it needs something to glue it to the mix, we’ll see.

for my guitars i messed around with so many odd ball placements i nearly pulled my hair out.  eventually came back to a very similar setup to what we did for Derek’s.  Cascade FatHead II edge of the dust cover and this time a 57 half way from the edge of the cone to the dust cover.  both on axis, both into my golden age Pre73’s.  i wish i had some inline HPF for the ribbon mike, it’s picking up some sub information that i need to filter out…but the pre73 doesn’t have a filter and it has this detail in the mid range that my other pre’s just didn’t.  



(there’s more)

check back tomorrow night for a special thing we need your input on. YES YOU!  more to come in the near-to-now…


Lots of progress

bass done, Derek’s electric guitar done, 

Derek’s going over some acoustic stuff we’re about to lay down, here’s some pics!




for the audio-curious, on the bass that’s a Ampeg SVT-CL with the matching 8x10 cab.  ElectroVoice RE20 (EQ Filter on) less than an inch off the grill 15º off axis, center off the cone, into the Aphex 107 Tube pre.  the RODE NT2 in cardioid mode, about a foot and a half away, into my Golden Age Pre73 - a Neve 1073 copy.  i moved this one around until it was in phase with the RE20.

my Effectrode Tube Drive pedal is in front of the amp for some moderate crunch on some songs and we used a fuzz face pedal for some rich creamy fuzz in a song or two.  the RODE is very warm and round while the RE20 adds attack and a lot of the action when we had the distortion/fuzz on.  it’s surprisingly beefy even with the EQ filter on!


Derek’s guitar was recorded with his Fender Hot Rod Devile (modified with a JAN 12AT7 in the first pre stage) into my Avatar vintage 2x12 with 1979 celestion G12-65’s.  we used my Effectrode Tube Drive for the distortion here also, this time with the original JJ’s in the first and second position swapped out for Mullard 12AX7’s.  (the most amazing tube ever for distortion)

we dual miked this cab as well with a Cascade FatHead II ribbon microphone, at the edge of the dust cone and the Sennheiser e609 silver, about halfway from the center to the edge of the cone, 45º off axis away from the dust cover.  both about 2 inches off the grille cloth, carefully phase aligned.  the FatHead II into the Aphex 107 with the low pass filter enabled and the e609 into the GA pre73.

the FatHead II captures a dark, roomy tone with lots of rich low-mids and the e609 got just the right amount of edge and note definition.  


Finally today we did acoustic guitar for a few songs.  here we have the Casdace FatHead II’s (seeing a ton of use since i picked these up, so great) in Blumlien pair.  three feet-ish away from the guitar, at 45º up in front.  these into the GA pre73’s captured a fantastic detail in the mid range and a great room sound at the same time. such a realistic image.  i threw up the Rode NT2 just below them in cardioid, into the Aphex 107 with the low-pass filter.  moved around ‘till it was phase aligned and added it to the FatHeads for a little more pick noise and brilliance in the high end.  

for parts where the acoustic is solo or primary the mix will get more of the ribbons than the LDC but we recorded quite a bit into other songs to accentuate certain themes, these parts might sound best with the LDC turned up more.  it’s a versatile combination, i’ll post some clips when i find a few min.



Forging Reverie Drum Session



drums are done tracking, kids!  here’s a video Derek shot explaining the setup and sneaking a peek.

check it!


i didn’t go into much detail here but if anybody is interested i surely will, just ask.  be sure to like my vids and subscribe to my channel for more updates (at whatever lazy pace is accomplish-able)

(now back to work for me)

fun with guitar micing

yesterday Derek from Forging Reverie brought over a box full of vintage old microphones and stuff.  they’d been under his bed or something for years, passed down from his dad.  so i picked through them; a few old mics you might plug into a 1970’s era cam-corder.  you remember, the type you’d attach to a shoulder bag that would contain the video tape mechanics?  there were some weird cables and a bizarre passive summing mixer with RCA in/out.

then i found a couple items that do qualify as “vintage”: ElectroVoice 627c’s and an AKG D19e.  the 627c is mostly used as a harmonica mic and it’s got a switchable impedance so you can go right into a guitar amp.  the web littered with stories about George Martin and the gang at Abbey Road using the D19e on everything from drum overheads to John Lennon’s voice.

i decided to fool around in the studio for a while and try these against some of my other dynamics on electric guitar.  here we go!

(left to right: Sennheiser e609 silver, AKG D19e, Ev 627c, Shure SM57, Ev RE20)

i played around with each mic’s placement to get the sound i liked best for each individually and then balanced the volume a little bit in the mix down.  this is NOT scientific in any way, i just wanted to get an idea of what they might be useful for.

the setup is my ash Fender Telecaster moded with a Dimarzio “Fast Track T” at the bridge into my custom boutique 50w and Avatar vintage 2x12 cab loaded with original Celestion G1265’s.  for the second pass (the distorted lick) i kicked on my Hot Chili Tubester and BOSS DD-6 delay.  here’s a little detail on the placement of the mics you’ll hear in the clips:

  1. SM57 - 45 degrees off axis, pointed at the side of the cone

  2. Sennhiser e609 Silver - 20 degrees off axis, pointed at the center of the cone

  3. Ev 627c - 45 degrees off axis, pointed at the center of the cone

  4. AKG D19e - 20 degrees off axis, pointed at the center of the cone

  5. Ev RE20 - on axis, pointed at the edge of the dust cap.

have a listen…

clean [audio “”]

distorted [audio “”]

so obviously the Ev 627c really has no business in a comparison like this but, it’ll be fun as a lo-fi effect mic and it’s awesome as a harmonica mic.  (check out YouTube if you have any doubt.)  the AKG D19e on the other hand, seems to have some very useful qualities.  definitely a vintage tone.  i predict i’ll be trying this out in many situations in upcoming sessions.  the fizzy, yet soft top end is something i don’t have anywhere else is my mic locker and i really like the kind of old condenser sound it has.