Re: Working with cupped mics
Will it stand up to the extreme dynamics of a typical mic-cupping artist?
Will it stand up to the extreme dynamics of a typical mic-cupping artist?
Working with cupped mics
- Thread starter Jared Koopman
- Start date
Re: Working with cupped mics
If I'm not mistaken, someone on the "old board" [our friends there are still doing well it seems] had an image of this as an avatar years ago. I would love to find the original image if anyone knows where it came from.
If I'm not mistaken, someone on the "old board" [our friends there are still doing well it seems] had an image of this as an avatar years ago. I would love to find the original image if anyone knows where it came from.
Re: Working with cupped mics
As I recall that was Gene Pink who had that avitar but I can't say for certain. I seem to recall he created the image as well.
Philip
As I recall that was Gene Pink who had that avitar but I can't say for certain. I seem to recall he created the image as well.
Philip
Re: Working with cupped mics
I believe the one I'm thinking of is from Jon Halverson. Unfortunately I don't think he's active on either sound site now.
I believe the one I'm thinking of is from Jon Halverson. Unfortunately I don't think he's active on either sound site now.
Re: Working with cupped mics
I guess since I posted the original quote, I should elaborate:
At the particular festival we were working, I had separate Foh and monitor consoles. I was running the sc48 at FOH, and had a yamaha DM2000 at monitors.
In this particular scenario, the nice thing about not having to deal with monitors from FOH is you can hack the hell out of the eq and not worry about the consequences from a feedback standpoint. So if the vocals are too 250 heavy you can pull it down 12-15db or whatever you please, boost 8.12843 khz by 100db, whatever. I just go crazy with the EQ if i need to until it sounds like a normal "studio" vocal again. Whatever the eq algorithms are on the sc48, they seem forgiving of any extreme boosts or cuts.
From a monitors perspective, we usually start by having someone with earplugs ring out the wedges as loud as they'll get until they're pretty thoroughly into limit. Don't worry if they end up sounding "aggressive" or uneven, as long as they're loud as s*** and high quality monitors to begin with.
I remember hearing an interview with a musician who worked with Dr. Dre in the studio. He said his only advice is to take earplugs because the studio was extremely loud. I keep that in mind when I work with rap artists. The 5% who care about fidelity will work with you like any other professional musician to get what they want. For the rest, just make it sound like a chainsaw from 2' away with no feedback and you will likely get a thumbs up and bro hug at the end of the show.
If you are running monitors from FOH, best of luck you poor bastard, just do your best and try not to get shot
I guess since I posted the original quote, I should elaborate:
At the particular festival we were working, I had separate Foh and monitor consoles. I was running the sc48 at FOH, and had a yamaha DM2000 at monitors.
In this particular scenario, the nice thing about not having to deal with monitors from FOH is you can hack the hell out of the eq and not worry about the consequences from a feedback standpoint. So if the vocals are too 250 heavy you can pull it down 12-15db or whatever you please, boost 8.12843 khz by 100db, whatever. I just go crazy with the EQ if i need to until it sounds like a normal "studio" vocal again. Whatever the eq algorithms are on the sc48, they seem forgiving of any extreme boosts or cuts.
From a monitors perspective, we usually start by having someone with earplugs ring out the wedges as loud as they'll get until they're pretty thoroughly into limit. Don't worry if they end up sounding "aggressive" or uneven, as long as they're loud as s*** and high quality monitors to begin with.
I remember hearing an interview with a musician who worked with Dr. Dre in the studio. He said his only advice is to take earplugs because the studio was extremely loud. I keep that in mind when I work with rap artists. The 5% who care about fidelity will work with you like any other professional musician to get what they want. For the rest, just make it sound like a chainsaw from 2' away with no feedback and you will likely get a thumbs up and bro hug at the end of the show.
If you are running monitors from FOH, best of luck you poor bastard, just do your best and try not to get shot
Re: Working with cupped mics
I don't know if I'd put a $700.00 mic in the hand of any rapper or punk ass metal band kid......
Re: Working with cupped mics
First channel of UHF-R I bought was when I got the contract to do a Nelly concert. Rather have him running around on stage in front of 9,000 people with plenty of headroom and fidelity than using a shure PGX.
Expensive mics can be cleaned, and you're much better off in difficult situations working with high quality gear than trying to force a 3 for $59 special mic to work.
First channel of UHF-R I bought was when I got the contract to do a Nelly concert. Rather have him running around on stage in front of 9,000 people with plenty of headroom and fidelity than using a shure PGX.
Expensive mics can be cleaned, and you're much better off in difficult situations working with high quality gear than trying to force a 3 for $59 special mic to work.