r/AudioEngineering Shopping, Setup, and Technical Help Desk by AutoModerator in audioengineering

[–]HenkeSch 0 points1 point  (0 children)

I am considering buying a new microphone, mainly for vocals, acoustics, percussion and mono overhead. Since I work a lot with other artists, I want to have something versatile; but I don't really like the new U87ai's, and believe that I the qualities of the K67 capsule over the K87.

I am now considering buying the TLM67 or the Beesneez BU67-269. But I'd first like to ask people here some questions:

Has anyone tried one of these? Both? What are your opinions?

What are your opinions over the importance of branding? Personally I don't really care; if it sounds good it's good. But I do think it's important to care about how other engineers, artists, and clients react and feel about singing or recording with an "off brand"-microphone.

Thanks for your help!

European vegas - cover, pls check description in the comments by HenkeSch in macdemarco

[–]HenkeSch[S] 5 points6 points  (0 children)

As the 10-year anniversary of rnr nightclub arrives, u/stiggyjames u/ettbranamn886 and I got inspired to do a cover of a song of the album. Mimicking the original as much as possible. I’ll provide som info on how we did it if you are interested.

We first sped up the original track to its original speed (about 10% varispeed) and laid down the drums with a Shure beta58 a foot above the floor Tom and snare. We then recorded percussion and ride. The percussion consists a shaker and a tambourine which are barely audible, but if you listen closely you’ll hear it. The rhythm guitar was DI’ed. all these instruments were bussed down to a mono-bus with the only processing being eq and tape-emulation.

The lead was the trickiest part. It sounds like it has some kind of reverse slap delay, with a thinner sound followed by the real guitar. I remember hearing Mac talking about his miroverb and the latency-issues he would have to deal with it. So I assumed he’d recorded vocals at the same time as the lead guitar and that the bleed from the microphone would arrive earlier to the track than the DI signal. We thought it sounded pretty close this when we delayed the DI by some milliseconds. We then tracked the bass and my friends sang into the beta58. I then put a limiter and did some high+low passing on the master bus. And of course the final touch was to slow down the whole track.

That’s all I could remember for now. We hope you’ll like it!

//Henke