There’s lots of chatter in this discussion about whether or not matched mic pairs are worthwhile, but lots of great information too.

Keep in mind that, if the mic’s specifications are +/- 2dB, that means that there’s a possibility you will find two mics that are 4dB apart at some point in their frequency response. If that doesn’t worry you, or you can’t hear that big a difference, I’m afraid you’re in the wrong line of work…

A practical concern for anyone looking to make some money with their recording talent: How much do you charge for an ad jingle?

Go for $3000 min. for the creative fee and then you have to figure out what is required for players & union-non buy-out, non, etc…Sometimes, it’s a lot easier, especially for a local ad, to just say $5000 all-in. But, again, it depends.

More on the never-ending quest for the perfect snare drum sound.

pull the mic back away from the rim 2-3″ and point it so that it is looking at the “impact zone”. Orient your snare wires so that they are all in line with the way the mic is pointing. The angle of the mic will be about 10 degrees with respect to the head of the drum when it’s in this position. This position, while it doesn’t isolate as much hi-hat, ends up sounding more like a snare drum and less like a timbale.

And some insight on capturing a more open sound

Can’t repeat this enough, there are 4 critical aspects for music like this; vocal sound, snare tone and the bass/kick relationship. The 4th element is the snare to kick relationship, the “pump”. If these 4 are done well it “sells the ear” that the mix is pro sounding and the listener will move on to things like the lyrics or maybe head bobbing to the music.

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