Posts by jhunger

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jhunger says

...from sony c800g to akg c12vr…

!!!!

988 posts Go Acoustic!
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jhunger says


I haven’t upgraded specifically from a NT1A, but I have upgraded mics in the past and definitely there is – in general – a difference going from a low end to a mid to high end mic. I would say there are a number of mics in that range where you would hear a positive difference.

Interesting, do you use the NT1A on your acoustic guitar Joel? or something else? You have a really good sound. I have been underwhelmed by how my guitar picks up on my MXL. Just sound dull. Maybe it’s partly due to my cheap, cheap Fender Acoustic.

Well, back the main topic, I hear the SM7 is a good affordable choice. Was used in the Michael Jackson’s Thriller album :) I think it’s around 600$ or so.

I personally upgraded from a 5$ generic mic to a 200$ (overpriced and got it on sale for 50$) MXL 910. It is good for some things but just not good enough for my purposes.

No, I haven’t used the NT1A at all but only know it by reputation as a good mic for its price range. But I have gone through the process of starting with a cheaper mic/preamp combination and eventually upgrading. My biggest “aha!” moment wasn’t due to a mic, but a preamp, after upgrading from a pair of Presonus Tube Pres to the FMR RNP, and realizing that I was now able to mix acoustic tracks without creating a huge pile of over EQ’d mud.

I’m always trying different combinations of mics since I’m never quite satisfied with my guitar sound. My latest phase is stereo mics with an SDC angled toward the sound hole (almost always a Joly modded Oktava MK012) and a LDC at the other end of the guitar somewhere, which is usually the Bottle Rocket, pointed at the bridge or some other spot. I just recorded one with the LDC pointed at the edge of the guitar and really liked the way it sounded. Only recently have I started keeping a note of mics and placement, so maybe when I listen back a year from now I can reproduce certain sounds.

Anyway, the SM7 is a great mic, and is actually around $350. I bought it to use for vocals, but found that I like a brighter mic on my voice. But I use it for many other things, including percussion and sometimes even as the large diaphragm part of my guitar setup. I don’t know if I’d recommend it as an acoustic guitar mic necessarily, but I hate the way new strings sound on a guitar and the SM7 helped mellow out the clanginess.

988 posts Go Acoustic!
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jhunger says

I haven’t upgraded specifically from a NT1A, but I have upgraded mics in the past and definitely there is – in general – a difference going from a low end to a mid to high end mic. I would say there are a number of mics in that range where you would hear a positive difference.

Problem is that matching a mic to a vocal is not a matter of the more expensive one wins, so it’s really hard to give any kind of advice on which to get for a specific situation. You might spring $3500 for a U87 and then find that it’s not quite suited to the voice (I had the chance to sing into one of those a while back and had that experience – wonderful and versatile mic, but just not for my voice).

That said, here are a couple things to consider:

- Blue Bottle Rocket Stage 1 – solid state mic that takes advantage of interchangeable capsules. Currently Blue is having a sale where if you buy one (which is $999 and comes with a B8 capsule) they’ll throw in a B6 capsule for free, so you kind of get two chances to get it right, and can then pick up additional capsules in the future for different flavors. I have this one with both the B8 and B6 and can vouch for is as a good mic, but I haven’t recorded female vocals with it – Blue claims the B8 is suited to female voices.

- Blue again – the Dragonfly, which I think retails also for $999 but I’ve often seen for less. Haven’t used it myself but I’ve heard it’s suited to higher voices and also interesting on acoustic guitar. Blue mics tend to be brighter so that’s why these come to mind.

- Wild card – maybe a ribbon mic like a Coles 4038: somewhat more than a grand but might add some interesting flavor. Or could be a horrible fit – who knows :)

There’s so many of them. The other thing you might try is splitting between a mid range mic and a good pre if you don’t already have one, for instance an RNP or Focusrite ISA One, and an AT 4047, or maybe a 4033 and a Cascade Fathead ribbon. Now I’m just throwing out names :) But if you spread out that 1000 on a few different flavors of pre/mic combos maybe you’d have a better chance of nailing down the right sound.

988 posts Go Acoustic!
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jhunger says



So, big diaphragm is good for guitar?maybe Rode NT3 is good for me? but i’ m don’t want a noize on my records, because i need mic for solo acoustic guitar, and this “SHhhhhh’ makes me crazy)

Well, a LDC (large diaphragm) mic can sound good on guitar, but normally a SDC (small diaphragm) mic is considered more ideal for guitar because of its faster transient response, among other things. That’s not to say an LDC won’t work either – in fact, my favorite method currently is a SDC at the 12th fret pointing at the sound hole and an LDC around the bridge. So again, some of the SDC (or pencil) mics noted above might be a good option if you are specifically looking to record the guitar.

Also, you’ll find that mic placement is a huge factor for how it sounds recorded, whether you go LDC or SDC (or a mid size like the NT3).

I would also ask where the “SHHHHH” noise is coming from. Are you plugging in your guitar directly? Or using a really cheap microphone? Or something else? It would be a bummer to switch out your mic and not solve the noise problem.

Also, you may already know this, but all of the mics listed in this thread require phantom power in order to run. So you’ll need some sort of interface that supplies phantom power and has XLR inputs, and most likely a built in preamp.
Thank you very much!so, if i have rode NT3 mic and Steinberg ur22 can i do good guitar sound?i mean if i haven’t special mic preamp.

I’ve never used the Steinberg UR22, but it appears that it has 2 mic inputs with a built in preamp, as well as phantom power, and handles 24 bit recording, so it should work fine to plug a condenser mic into, and you won’t need a special preamp to get the level up.

I’m sure the NT3 would be okay, but it wouldn’t be my first choice in that price range for an acoustic guitar. Again, I would first consider a small diaphragm condenser like some of the others mentioned in this thread if only using it for instrument recording. If you really want to go with Rode, you could try an NT5 – last time I checked they were about $220 apiece or $430 for a matched pair.

988 posts Go Acoustic!
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jhunger says

I think any small to medium sized condenser will give you a DECENT sound on acoustic guitar, preference would be to record in STEREO. Personally prefer small “pencil” condensers Oktava MK-012 or km184’s/84’s (expensive!), or even Rhode NT5’s. Of course what’s really important is the guitar+room/mic setup.

As a small aside, I have both the Oktava and a pair of KM 184s, and by far prefer the Oktava on acoustic guitars.

Never tried a KM84 though since they stopped making them – I hear they’re kind of the standard by which many other SDCs are judged. Been tempted, but $1000+ for a used mic seems kind of risky to me :)

988 posts Go Acoustic!
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jhunger says

So, big diaphragm is good for guitar?maybe Rode NT3 is good for me? but i’ m don’t want a noize on my records, because i need mic for solo acoustic guitar, and this “SHhhhhh’ makes me crazy)

Well, a LDC (large diaphragm) mic can sound good on guitar, but normally a SDC (small diaphragm) mic is considered more ideal for guitar because of its faster transient response, among other things. That’s not to say an LDC won’t work either – in fact, my favorite method currently is a SDC at the 12th fret pointing at the sound hole and an LDC around the bridge. So again, some of the SDC (or pencil) mics noted above might be a good option if you are specifically looking to record the guitar.

Also, you’ll find that mic placement is a huge factor for how it sounds recorded, whether you go LDC or SDC (or a mid size like the NT3).

I would also ask where the “SHHHHH” noise is coming from. Are you plugging in your guitar directly? Or using a really cheap microphone? Or something else? It would be a bummer to switch out your mic and not solve the noise problem.

Also, you may already know this, but all of the mics listed in this thread require phantom power in order to run. So you’ll need some sort of interface that supplies phantom power and has XLR inputs, and most likely a built in preamp.

988 posts Go Acoustic!
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jhunger says

By all accounts it’s a great mic for the price, and I think you’ll be happy with it if it’s an all around mic, e.g. you’ll be using it for vocals as well as stringed instruments.

However, if you’re getting a mic only for recording stringed instruments (and you have a different one for vocals), you may want to consider a small diaphragm condenser. In the same price range there are several great SDC options, including the Oktava MK012, Rode NT5, AT 4041.

988 posts Go Acoustic!
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jhunger says


I think I’m finally on the brink of taking Matt’s advice on this one. I’ve had 3 tracks listed as an experiment (on Audiam, not AdRev, but a similar concept), for a few months, and just got my third statement (for August) – looks like it’s pretty close to the $1/1000 views rule of thumb that Paul reported. Not to get into exact numbers, but I will say that right now it looks quite promising and well worth straightening out a few customers who have had trouble disputing claims.

BTW – I don’t have any reason in particular that I used Audiam instead of AdRev (well, I do, but it was sort of a knee jerk reaction to a different marketplace that I felt was pushing AdRev on me – turns out I probably should have let them, c’est la vie). I haven’t had much experience with AdRev, but I’m willing to bet that they’re more polished than Audiam, which seems very beta. That said, they’ve been extremely responsive and have released claims within minutes of me telling them to on behalf of a customer.

Besides the potential $$, I started feeling like this was a necessary move because on 3 instances now I’ve had to deal with somebody else fingerprinting my songs. This is a good way to assert ownership and, as mentioned above, get some recompense for song theft. I’m fairly confident that a decent percentage of the claims that were listed for August were not via paid licenses. Also, it seems that more and more musicians are taking the plunge, and soon (if it isn’t already) this will just be pretty much the norm.

Honestly it still freaks me out a bit, and I’m still not sure that I understand all the ramifications, but I will be uploading several more masters over the rest of the year to see how it progresses.

Joel,

Perhaps do what I did. Start with a few of your “more likely to be pirated” tracks see how it feels first. Also, Jesse @ AdRev told me that despite the 4 month lag before results are reported and income earned, from that point forward the reports are monthly and payments quarterly as they are with most PRO’s.

By the way, thank you again for the advice on the Uke. I ended up with an Ibanez EW Cutaway Concert Acoustic-Electric \\

I love it! Can’t play to save my life but I’m learning and practicing almost everyday.

Sweet! So much fun – and having the pickup will come in really handy so you don’t have to run out and lay down a bunch of cash for a mic/interface set up right away. Also, don’t know if you play live, but it’s great to have the option – I played in a band a few years back and would love to have pulled out my uke but don’t have any with a pickup, unfortunately.

Back on the AdRev topic, thanks for the good advice – I’m taking it in baby steps, or at least have been over the last few months. But I think from what I’ve seen so far the potential downside is well outweighed by the benefits.

988 posts Go Acoustic!
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jhunger says

I think I’m finally on the brink of taking Matt’s advice on this one. I’ve had 3 tracks listed as an experiment (on Audiam, not AdRev, but a similar concept), for a few months, and just got my third statement (for August) – looks like it’s pretty close to the $1/1000 views rule of thumb that Paul reported. Not to get into exact numbers, but I will say that right now it looks quite promising and well worth straightening out a few customers who have had trouble disputing claims.

BTW – I don’t have any reason in particular that I used Audiam instead of AdRev (well, I do, but it was sort of a knee jerk reaction to a different marketplace that I felt was pushing AdRev on me – turns out I probably should have let them, c’est la vie). I haven’t had much experience with AdRev, but I’m willing to bet that they’re more polished than Audiam, which seems very beta. That said, they’ve been extremely responsive and have released claims within minutes of me telling them to on behalf of a customer.

Besides the potential $$, I started feeling like this was a necessary move because on 3 instances now I’ve had to deal with somebody else fingerprinting my songs. This is a good way to assert ownership and, as mentioned above, get some recompense for song theft. I’m fairly confident that a decent percentage of the claims that were listed for August were not via paid licenses. Also, it seems that more and more musicians are taking the plunge, and soon (if it isn’t already) this will just be pretty much the norm.

Honestly it still freaks me out a bit, and I’m still not sure that I understand all the ramifications, but I will be uploading several more masters over the rest of the year to see how it progresses.

988 posts Go Acoustic!
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jhunger says


Hi Soundroll, do you have any update? is your account working?
No, it still doesn’t work.

That sucks man – sorry to hear it’s still happening, and also if I made light of it earlier. My sales have been zero today as well, but maybe just an unusually slow Saturday, or at least I haven’t heard from anybody that they tried to buy.

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