| The Tape Op version of this
article was published in the summer of 2009, so I'm going to use this
space to update any new thoughts or changed
opinions I might have. As of this writing (Nov. 2009) the expanded
version of the original article is not complete. Give me time on that,
I just wanted to get this posted right away for people who haven't read
the magazine
version. *
* *
#1 -- And now it is tomorrow and I have changed my mind.
I've taken the
Charter Oak M900 off the top 15 list published in the Tape Op article
and have
added the
Schoeps CMC64 instead. Although it wasn't on my original list, it's now
my
number one selection. Why? Because I've listened to the sound files on
everything from boom boxes to car stereos, I've run them through high
pass filters, added effects and in general have manipulated them every
way possible. The Schoeps just has the right combination of mellowness
and high end. Over time, the Charter M900 sounded a bit too bright for
my liking.Editor's Notes I've been big on the AT4021 and still am, but when I add a bass rolloff at 150hz using an EQ plugin the high end doesn't seem to have the clarity I was hoping for. Sounds fine without the rolloff though. During the course of these tests, I've come to appreciate the high end frequencies more. In the past, I gravitated more toward mellower mics -- the Gefells, the Nevaton MC49, the Beyer MC930 the Milabs, Josephson c617 Set and the KM84s. But I've come to appreciate that a good clear high end need not come off overly bright or harsh, as evidenced by mics such as T.H.E. KA-04, Sanken CO-100k and the KM-69. #2 -- When I first started the test I was just doing it out of my own curiosity, so I recorded everything at 24-bit, 44.1khz which is what I normally use in sessions. As to my turning them into stereo interleaved files, that was just force of habit on my part. In the future the audio files will remain mono. It didn't affect the sound, but it sure affected size and convenience. #3 -- Yeah, that pesky guitar tone in the 1200hz 1250hz range. I'm not sure if it's the room, the guitar, a reflection or a harmonic, but it's there. Fortunately, it's there on every file so that at least proves the consistency of the test -- how's that for spin? I'm guessing the cause is the in-the-face midrange of the Collings C-10. When I get time I'll try a few mics using my Martin DM-1 and see if it's still there. #4 -- One panel member thought the guitar sounded too boomy and bassy overall. But only one, everyone else said they didn't have a problem with that. I sort of agree with the guy in some respects. If you compare it to the trebly acoustic guitar sound of The Black Crowes -- and most modern recordings in general -- there's definitely a lot of low end in my samples. But I was going for more of a solo sound ala Michael Hedges. And for the record, the guitar was always recorded with the mid aiming around the 12th fret, not directly on the sound hole. |