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Do any of you actually switch mics?
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Rob Ellis
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PostPosted: Wed Jul 06, 2016 5:02 am    Post subject: Reply with quote

Quote:
Ostensibly it's because I use the 416 for certain things, but in fact I end up switching for feel, or because I'm mad at one of the mics, or because I'm bored.


I can definitely relate to this one.
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Brian in Charlotte
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PostPosted: Wed Jul 06, 2016 5:12 am    Post subject: Reply with quote

AHAHAH.....he must have named it after himself hilarious! I will say, that thing is heavy and well made. I truly works perfectly also. My Focusrite Clarett pre was good, but there is a bit more punch with the Avalon, so finding a way to get both mics through it was top on my list. When I came across this, I was skeptical. OH, for anyone who may get one, "turn off phantom power" on your interface and use the 48v on the Gold Digger (per Radial).
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Bish
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PostPosted: Wed Jul 06, 2016 7:03 am    Post subject: Reply with quote

The phrase "fit for purpose" comes to mind. The whole Radial range seems to be built for a real production environment (rather that pro-sumer). I'm hesitant to say "mil-spec", but it's getting there. The added bonus is that if anyone sneaks up behind you, you can grab this thing and give them a severe concussion! Maybe it's because of my history in engineering (or whatever) but I've always had a soft-spot for stuff that's built well (or even over-engineered). I get the same feel from my Audient iD22... I look at the GoldDigger and the iD22 and smile. I sometimes even poke them with my finger to get that tactile feedback from when they just sit there, pushing back and refusing to move Smile

I know. I'm sad.
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Bish a.k.a. Bish
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Mike Harrison
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PostPosted: Wed Jul 06, 2016 7:29 am    Post subject: Reply with quote

Quote:
...I'm mad at one of the mics...

Well, this makes me feel a bit better about things.
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vkuehn
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Joined: 24 Apr 2013
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Location: Vernon now calls Wisconsin home

PostPosted: Wed Jul 06, 2016 9:50 am    Post subject: Reply with quote

Jackedvo wrote:

I use the Triad Orbit fantastical dual-boom--one of the coolest things like, since ever.


Some how Triad Orbit did not come up on my radar screen until George Whittam featured them in a video from the big audio show this past year. I have not been impressed with some of the quick-connect (a.k.a. surprise DISCONNECT) mic mounts the market offers. Looks quite secure to me! I just don't have a comfortable feeling trusting a precious high-dollar mic to a little less-than-twenty-dollars" poorly designed click-to-disconnect mounting mechanism. I shudder at the though of a new wall decoration with the following caption: "Humpty Dumpty was a great mic... till one day Humpty dumpty took a great fall... and all the king's men could not make Humpty dumpty sound magical again."
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HeatherMasters
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Joined: 03 Sep 2015
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PostPosted: Wed Jul 06, 2016 12:34 pm    Post subject: Reply with quote

Quote:
I shudder at the though of a new wall decoration with the following caption: "Humpty Dumpty was a great mic... till one day Humpty dumpty took a great fall... and all the king's men could not make Humpty dumpty sound magical again."


YES!!! When I first started I was so nervous about my beautiful new mic falling that I bought a ginormous atlas boom stand off a guy on craigslist. The thing weighs about 50lbs. and is huge. Now when I go into my booth I just shake my head..."silly newbie." I want to get a mount to free up some space, but I just can't commit because I'm afraid of choosing a piece of junk. Your clever little rhyme will now run through my head every time I look at that ridiculous monstrosity Smile
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Bish
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PostPosted: Wed Jul 06, 2016 12:41 pm    Post subject: Reply with quote

There's part of me that always wanted to buy a real C-stand as a mic stand. There is nothing wrong with over-engineering! Just think... if you ever get bored while waiting on a live session, you can do pull-ups on the boom.

I've actually been very happy with OnStage stands. I have a couple of the round-based ones with boom attachments on them. To provide a little additional security/stability, I've slipped some round bar-weights (donated by eX) over the shaft... there's about 20 additional pounds helping that thing conform to the laws of gravity!
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vkuehn
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Joined: 24 Apr 2013
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PostPosted: Wed Jul 06, 2016 12:49 pm    Post subject: Reply with quote

[quote="HeatherMasters"]
Quote:
Now when I go into my booth I just shake my head..."silly newbie." I want to get a mount to free up some space, but I just can't commit because I'm afraid of choosing a piece of junk.


Some months back I posted my "hair-brained idea" of suspending a mic from the ceiling and at least one participant assured me I was flirting with disaster if I did it. Well, in a couple of months when the move is accomplished, I shall proceed with my hair-brained idea! (complete with bungee cords.) But here is the safety net I will also install which might work well for you.

I will put the precarious, unstable looking Rube Goldberg contraction in place but I will also find a SOLID point above the mic to install an "I-bolt" in a known, solid timber. A safety-cable will loiter in a lazy, relaxed manner from the secure I-bolt down to a substantial part of the microphone mounting assembly. If your newer, more graceful but not so sturdy mic boom were to fail or get knocked over, such a "safety cable" would catch the mic before it could fall far enough to hit anything that could cause damage. The cable would be something like you sometimes see on garage door mechanisms, or control cables for small aircraft.

Then you can sleep well at night knowing that even if Humpty Dumpty along with The Three Blind Mice go on a rampage in your studio, all is well that ends well.
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DenaliDave
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PostPosted: Wed Jul 06, 2016 3:20 pm    Post subject: Reply with quote

Well, in the recent past I had been using an RE-20 or my newer Neumann BCM-705 dynamic for long-form stuff, and the TLM-67 for short stuff.

I'm finding myself using the TLM-67 more and more and the dynamics less and less. It just sounds so much better and natural.

In fact, with an audition I just did I didn't even bother to do anything to the track besides barley use a de-esser. After playing with the mic, nothing I did "helped" and only detracted. Normally I'd run some real light compression...nope, not this time. It didn't need it.

I think she's a keeper Wink

As it is, I still have the BCM-705, TLM-67 and the D87 clone all on stands within about 4' of one another in my studio, all wired up and ready to be swapped into the interface at a moment's notice.
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Jack Daniel
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PostPosted: Wed Jul 06, 2016 9:05 pm    Post subject: Reply with quote

Vernon, you said:
Quote:
Some how Triad Orbit did not come up on my radar screen until George Whittam featured them in a video ... I have not been impressed with some of the quick-connect (a.k.a. surprise DISCONNECT) mic mounts the market offers.


That's where I learned about Triad, George's WW show. The connector system is quite robust--I don't pop 'em in and out much, but it is well designed and made. I love the system because it stays put and, by gosh, is perrrty. I think you'd love the elegance and world-worthiness of the TO system, esp. if you want quick-connects that don't suck. Also if you just like looking at well-made stuff and going "ahhhh."

Side note: I contacted Triad about changing one of my add-ons (a longer end-mount made for hanging mics) and they didn't blink (so far as I could tell over the phone), immediately offering to send me one while I sent the one I had back. The fellow I spoke with also turned out to be one of the main designers. Wonderful to catch a company in its ascension, before People Who Know Better get in the way.
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Jack Daniel
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Jack Daniel
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PostPosted: Wed Jul 06, 2016 9:20 pm    Post subject: Reply with quote

Quote:
I had been using an RE-20 or my newer Neumann BCM-705 dynamic for long-form stuff, and the TLM-67 for short stuff.


An excellent point, Dave--end use. I shy from using the 416 for anything on the long side, as its shiny cutting quality is a bit wearing after more than your average commercial's length. Longer stuff automatically gets Neumannized.

I also have not found The Groove with my mics. I tinker anyway, but even when I have something that sounds good, the devil in me (aka "me") thinks he can find something that's better, and so things get monkeyed with. My hope is that when I finally get my room right, my monkeying will cease.

Confidence level in future monkeying cessation: Low.
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Jack Daniel
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David Bucci



Joined: 23 Feb 2013
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PostPosted: Wed Oct 05, 2016 7:19 am    Post subject: Reply with quote

Interesting topic. I have a TLM-103 and the 416 in my booth. I've noticed that the 416 gives me a fuller low end so I tend to use that more for radio spots. I also have an RE-320 at my disposal should I find a need for it. I've found the RE-320 has a very clean sound and a slightly bigger range than the standard RE-20.
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Chuck Davis
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PostPosted: Wed Oct 05, 2016 8:50 am    Post subject: Reply with quote

I'm actually a "one mic" kinda guy. Just 416 in the booth. There's an NTG-3 in the control room. That's mostly just for talkback and Skype coaching sessions. Now, multiple pre amps? Have an M5 and an M-1. Trying to decide whether I should keep both.
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DenaliDave
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PostPosted: Wed Oct 05, 2016 10:08 am    Post subject: Reply with quote

Jackedvo wrote:
Quote:
I had been using an RE-20 or my newer Neumann BCM-705 dynamic for long-form stuff, and the TLM-67 for short stuff.


An excellent point, Dave--end use. I shy from using the 416 for anything on the long side, as its shiny cutting quality is a bit wearing after more than your average commercial's length. Longer stuff automatically gets Neumannized.


It's interesting, but I've done a few blind side-by-side comparisons of my mic line up with friends/family/random "Joes"...people who aren't in the industry or musicians.

I'd say about 70% of the time they would pick a dynamic out of a blind shoot out.

My theory is that the SM7bs and RE-XX's have a "sound signature" to them that everyone is used to hearing. Day in, day out on the TV and radio we hear people talking through these microphones. The unique signature they impart has become so "normal" to people that it almost seems desirable.

Then again, if you tried to do say a movie trailer with one instead of a 416 ... people would wonder "what's wrong with the guy's voice?"

Certain mics have been used in certain genres of voice recording so much for so long that the signature they "impart" upon the human voice is almost expected by the listener.

In some ways, it is about meeting the expectations of the people -- and I'm sure that's a consideration that sound engineers and producers have to keep in mind on projects.
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FinMac
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PostPosted: Wed Oct 05, 2016 11:11 am    Post subject: 3 mics not 2 Reply with quote

Using the 416 for anything "movie-trailerish", (not that I have done or will ever do a movie trailer), or for anything slightly intense, even if it is corporate narration.

Second mic is the Bock Audio 195 for e-learning, or corporate narration.

Then I have a new Rode NT1 for something less "fat" than what I get thru the Bock. Not to confuse things even more is that I use different audio chains besides different mics Smile
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