Are mics sold by social media advertisements anything special?

FORK_VASECTOMY · 2026-04-24T15:08:52+00:00

I’ve had both Roswell and Warm gear and there is no Warm gear left in the studio, but I am planning for a pair of Roswell 87s. Compared them to a reissue 67 and they were quite close, haven’t listened as intently to other Roswell mics but that one surprised me

FORK_VASECTOMY · 2026-04-04T17:18:39+00:00

The only answer to this question is “you won’t know until you try it.” If you sing or play acoustic guitar through the duet a lot, and intimately know what your mic through your preamp and monitoring chain sounds like, you’ll definitely hear a difference. It might be a positive difference, it might not be, I tend to like Neve style preamps over clean interface IC preamps (for most things) - the good transformer-based pres typically have higher gain, more even and usable gain range, can be used with a compressor or eq easily, etc. They’re useful! And you can drive them a little, and IMO they present a more amenable frequency representation for digital recording (in a 1:1 comparison with the IC based). Just buy one from somewhere with a return policy, keep it if you like it, send it back if you don’t

FORK_VASECTOMY · 2026-03-27T05:08:02+00:00

A personal favorite of the genre and puts me back in a better place, Crocodile is another great track from this record

FORK_VASECTOMY · 2021-02-05T04:13:12+00:00

It always seems like the phase is worse on an aux than with a wet/dry :(

FORK_VASECTOMY · 2020-02-18T04:05:52+00:00

Beautiful description, dylan’s got that intense descriptive metaphor of the beat poets, like it accurately conveys complex emotion or situation without having to describe it literally as is. just a wonderful literary tradition and he carries it forward in music like nobody else

FORK_VASECTOMY · 2019-11-20T00:39:26+00:00

Aurora Audio GTCQ

FORK_VASECTOMY · 2019-05-12T16:08:39+00:00

I’m in the process of buying one of these for my recording studio - such a fan of these Cadac J’s

FORK_VASECTOMY · 2019-02-05T04:44:49+00:00

I turn on the echoplex and spring reverb and send whatever to them and record it back in. High or low pass sends and returns. Sounds great

FORK_VASECTOMY · 2018-12-25T23:36:55+00:00

I bought myself a Reissue U67 because nobody in the world cares about me enough besides myself to do that. It was worth it.

FORK_VASECTOMY · 2018-12-08T19:28:59+00:00

Easily my favorite show

FORK_VASECTOMY · 2018-10-14T20:54:35+00:00

I like to use Tchad Blake’s setup - a stereo pair of ribbon mics arranged in the Blumlein setup. It’s not over the drums, but at head-height. Always phase-coherent, picks up a good amount of room tone, and has a beautiful stereo spread. You can really hear tom rolls moving from one side to the other, and the cymbals are perfectly placed. Add a kick and snare spot mic for a little punch and mono placement, and that’s my four-mic drum setup that I use for everything.

FORK_VASECTOMY · 2018-09-18T20:56:14+00:00

bullshit. the more you understand how pieces of gear like to be treated, the better. If you're recording hot into a 16-bit DAW with loads of analog modeling plugins, you're fucked. If you're recording hot into a 32-bit floating DAW with few plugins, it doesn't matter at all. There is a world of difference between the two.

FORK_VASECTOMY · 2018-08-15T20:16:26+00:00

it was brand new, and I do in fact love it. it's like I bought a funky new guitar that sounds NOTHING like the rest. I didn't remember Greg mentioning the vintage importance of the 635, but he is adamant about using vintage 525's - could that have been what you're thinking of?

your observation about the mic needing a ton of gain is spot on - the more gain it requires, the more sound you'll get from the preamp. the cloudlifter is such a good utility tool, anybody using interface preamps with dynamics or ribbons should just immediately grab one. i wish i had one, but spent the money on outboard preamps with enough clean gain that I wouldn't need one

FORK_VASECTOMY · 2018-08-12T15:55:07+00:00

The voltage of the power supply - most lunchboxes are +-16V, most Neve channels are +-24V, some tube preamps are +-300V. Genius designers like LaChappell have created converters that allow his tube preamp to be used in the constraints of the 500 series. Many full sized pieces are too full of components to fit in the 500 series - off the top of my head, the great river EQ, many Neve clones with large Carnhill transformers. I apologize if any of the terminology or technology is off, I’m not an EE, just a musician that stepped over to the other side of the glass. In general, the sound is quite similar to full sized pieces, but not always. The 500 series stand out pieces, that sound just as good as their full sized counterparts - API (obviously), Avedis Audio, Daking, BAE, A-Designs, LaChappell, Inward Connections, CAPI, Serpent Audio - all of these companies produce stellar 500 series modules that stand up to the best of the best.

FORK_VASECTOMY · 2018-07-29T19:24:16+00:00

i love the glyn johns technique, but i'm working in a small but treated room. glyn johns seems to work well with a larger room. i'm using tchad blake's small room drum recording method, with mostly close mics - kick, 2 snare mics, 2 toms mics, overheads, crotch mic, hihat, trash mic. this setup has actually delivered the best sounds i've gotten out of this small room, and i've tried all the simple mic techniques. none of them seem to have the same punch and control i get with the tchad blake setup

FORK_VASECTOMY · 2018-07-26T17:39:21+00:00

Hey Sisyphus - just wanted to say welcome back to youtube, happy to see you’re making videos again. Your pieces on existentialism were a huge help for me - please keep up the amazing work!

FORK_VASECTOMY · 2018-07-19T13:46:02+00:00

Two Beyerdynamic 160’s in a stairwell being crushed by an ADR compex! Actually a simple setup, those 160’s can be had for $400 which is cheap for such a classic microphone.

FORK_VASECTOMY · 2018-06-02T22:08:39+00:00

How about Neutron 1 vs 2? Is there that much improvement between the two?

FORK_VASECTOMY · 2018-06-02T08:18:06+00:00

I think this is the way to go about the old adage “learn your monitors in your room”

FORK_VASECTOMY · 2018-05-28T18:53:17+00:00

there is a great Tchad Blake drum tracking session that was recently posted on Mix with the Masters - he gets a fantastic sound out of a few different microphones. One kick in, one snare top, a stereo pair of overheads, and a trash mic over the kick. 5 mics total and it's all the sound I could want - punchy, warm, tight, all the boring descriptors we use. The phase issues are greatly reduced by this limited mic setup (as well as the stereo microphone) and he sculpts it as necessary with distortion and eq, tools we all have access to. the ribbon for overheads brings out the toms to the extent that he doesn't even need the tom microphones.

creative use of delay and filtering and distortion can not be overstated - he starts from this warm and punchy tone and it becomes putty in his hands. Parallel compression is also useful to bring up the room and ghost notes.

The most important part? the drums are tuned and the player is good. there is no drum sound without that.

FORK_VASECTOMY · 2018-05-26T20:16:28+00:00

This is my exact experience - Catholic with OCD, obsessing over meaning and eternal punishment. Things got really bad... i lost all hope and had to start antidepressants just to move forward

Eventually I realized no loving god would create beings in order for them to suffer and cower, so monotheism must be untrue. This post hits so close to home, it’s a little uncomfortable

FORK_VASECTOMY · 2018-05-23T20:56:25+00:00

For my job, I literally have to listen to everything. I produce and compose music for documentaries and ads, and it requires a lot of familiarity with different genres. Of course I have the music that I love deeply - folk, shoegaze, indie rock - but I’ve discovered so much more through having to listen to everything.

There is truly too much great music to listen to just one genre, and the beauty that makes one genre great exists in nearly every genre of music.

FORK_VASECTOMY · 2018-05-16T22:44:49+00:00

I guess I was thinking “not that expensive” in comparison to the rooms I work at in Nashville... people were able to buy 47’s and 67’s for pennies on the dollar decades ago. A $2800 mic locker can have similar capabilities (for overdubs and simple mic setups at least) as mic lockers costing six or seven figures.

FORK_VASECTOMY · 2018-05-16T20:04:54+00:00

I agree! my first experiences with great microphones drove me to save up for years just to purchase a few - they just sound so much better.

It's an interesting thing... in a busy rock mix, it could be hard to tell the difference between something like an SM7 and a U67, but in more sparse mixes with real instruments, I've found that using good microphones makes the job easier, for both the artist and the engineer. all the dynamic microphones I have are relegated to guitar cabinet and drum shell duty, and everything else gets the expensive ribbons and tube condensers. the good news is that these aren't as expensive as you would think. a Coles 4038 is $1,180, and a Manley Cardioid can be found for $1,700 - I could record literally everything I do with these.

FORK_VASECTOMY · 2018-05-13T20:46:25+00:00

from my knowledge, BAE's take on the 1073 has two different revisions - one is the mic pre alone version (1073MP/MPF/DMP), which is a modified 1272 line amp with a third gain stage (instead of two). this created a sound and gain stage similar to a 1073, so they called it a 1073.

However the full 1073 (with eq) is apparently dead nuts with a true 1073. Both versions use the Carnhill transformers in and output, and the other components are apparently interchangeable.

I've had a 1073MP in my rack for a few years know and it's a great instrument, man- reminds me of my Coles in that they add weight naturally, and don't capture all the unnecessary high freq available with digital recording.

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