Most impressed with Aled's guesswork here! So close... you correctly identified the mics, but in fact A and C are the other way around:

A: AKG C414EB
B: AKG C414B-ULS
C: Austrian Audio OC-S10

Many years ago I recorded a band who had a piano player. We weren't tracking with headphones so initially we tried feeding their digital piano through a good quality PA monitor and miking that. It sounded utterly terrible.

Inspired by Aled Hughes' test in this thread , here's another mic comparison for you all. If you follow this Dropbox link , you'll find three versions of the same song. Apart from the bass guitar, which was DI'd, every element was recorded simultaneously with three mics. Version A is the recording ...

I am late to the party, but I've just listened to both versions. I think the second one is a slight improvement. The vocal is clearer and the snare cuts through (possibly too much). And as others have said, there's lots to like about the track and about both mixes. Having said that, to my mind, they ...

How large are the venues you'll be working in? Taiko drums are notoriously loud. It's possible they may not need amplifying at all.

So, what about this idea: The reason so many artists agree to an interview with him is because they know their brand and their music is going to enjoy an instant uptick, and for that reason, it's a fair trade-off. Notice how it's the label that's attacking him and not the artists themselves? I ...

Very interesting, and I definitely would have got it wrong! I haven't heard a C12A before but the comparison definitely chimes with my recollection of how the C414EB sounded against the OC818. I have the new Austrian Audio OC-S10 for review at the moment. If I can, I'll try to record a comparison of ...

Mic A seems to me to have a fuller midrange. Mic B is more 'scooped' and also seems to pick up slightly more of the room. They both sound good I think. I'll resist the temptation to guess what they are in case I get it embarrassingly wrong!

But my main question is -- what about the the silky saturation promoted by Neve 1073 and copy cat gears? Isn't the saturation what I hear in many broadway recordings? Michael Buble's silky vocal top-end that wouldn't otherwise be possible in normal human anatomy? Among many other top tier examples ...

Cheers Roland! Unfortunately those links aren't working for me, they all give a 404.

I too have come across numerous broken M201s. They are good mics but surprisingly fragile. I don't know why Rode chose to maintain the NT1 product name for the current version, because it is a very different and much better sounding mic than some of the earlier iterations. I recently mixed an album ...

In this price bracket I'd probably rather have a good fixed-cardioid mic than a mediocre multi-pattern model, especially if it's for vocals and nothing else. The 5th gen Rode NT1 is an excellent mic and superb value. I was also very impressed with the Sony C80. The Earthworks ETHOS is another mic ...

The Austrian Audio OC818 is a good mic. The cardioid-only OC18 apparently sounds the same, and is around your budget (maybe just a bit over) The OC16 is cheaper still and uses the same capsule, but I haven’t tried that one. I haven't directly compared them but I am pretty sure the OC16 is voiced b ...

I just listened to the MP3 file and it seems to be mono, is that intentional?

Sounds good, but 65dB of gain, may not be "that" important but I think I'll go with the 80dB of the Focusrite. More is more isn’t it? :D Like the ISA, the PureDrive preamps have two gain controls. The stepped one maxes out at 65dB but there's also a ±15dB trim control, so the PureDrive in fact also ...

I have not yet had the pleasure of using the Cranborne preamps, but I'm a big fan of both the ISA and the DAV. That said, I would also throw into the mix the SSL PureDrive Quad. It gives you four very well specified channels of preamplification with a huge gain range, and can act as an ADAT expander ...

I think it's important to understand that the problem of large language models hallucinating is not solely down to them being fed with inaccurate or conflicting information. They are simply trained to produce a certain kind of response to a certain kind of stimulus. Even if every statement that was ...

Personally, I think the main reason that engineers of the past didn't have drastic issues in the 100-400Hz area when tracking vocals is that they kept the vocalist a sensible distance from the mic. In a good-sounding live room there is absolutely no need to have the singer right up on the mic. Put ...

I was wondering about adding dynamic mics to my list but I don't have so much experience of using them for studio vocals. I'd guess something like an SM7 and RE20 might also be worth trying if you want to go the dynamic route. And maybe a classic studio ribbon mic. I've only rarely found ribbon ...

Agree with James here. I'd probably add something like a Sennheiser MD441 to the mix too.

The OP is asking if SOS has policies in place regarding a hypothetical situation that has never occurred. The answer is no. As a small business, we are too busy dealing with things that are actually happening to spend time developing policies about remote possibilities. If the OP, or anyone else ...

To my ears, everything in this mix is WAY too compressed. There may well be too much compression on the mix bus as well. There's also something very weird going on with the vocals, it could indeed be that the pitch correction is overdone.

I must admit I have never understood why it took so long for M$ to implement properly USB Audio 2.0, and even now I understand it's not complete. Whereas Macs had it long ago and never needed ASIO drivers. Still, that's off the thread. If Apple have found ways to improve it that can only be good ...

I'm told that Tahoe will include some significant improvements to the Class Compliant USB driver within Core Audio, which deliver lower latency and improved stability.

I haven't bought from them personally but they are good people and I wouldn't hesitate to.