These sound great. Because the price is right at my budget, where the 013 were a bit over for me. And they can fit well for the main things I want this for: Fingerpicked acoustic. For steel string, but especially my main guitar, a nylon concert classical. And similarly for an older more closed sounding piano. On your piano I preferred the 011, and I think I would prefer the 011s with old upright too. And also good to have something that will work well for additional layers of plucked intruments, like Mandolins, and possibly could work on strings too, maybe especially for more definition definition on Double Bass & Cello? In a mix with a delicate solo vocal, they could come into their own for strummed guitar too, dreadnoughts midrange can crowd a vocal, where what you might want is less thick mids and more of that sparkle the 011s impart. I also think that these could make good drum overhead / cymbal mics. Especially for lighter styles like Jazz, Folk, getting out of the way of the snare and tom mics in a way that the thicker-mid 013 won't. Could do the not too expensive overhead/cymbal SDC pair job better than Beyerdynamic MCE930 (smooth, but a little dark and more expensive), Oktava 012 (nice crunch, but a little grainy), Shure KSM-141 (nice but a little dry/lo-fi) or AKG C451b (clear but a little brittle). Whereas with the 011s I more hear clarity/definition. Have you tried them on overheads?
I havn't tried them on drum overheads yet, and more than likely will not (unless curiosity just gets the best of me at some point). I really prefer using something much darker on overheads, like ribbon mics. I didn't even use the 013's on overheads when I had them. That's just a "me" thing and totally comes down to preferences, I'm sure the 011's would do well. It sounds like these would be the better choice for all the things you want to use them for. I'll probably still stick to my Bomblets spaced out on strummed acoustic guitar, but will definitely be reaching for the 011's on finger picking for a while.
@@MillSounds Yes, it's a good point. Next year I will start to dip into ribbon mics. Probably just starting with cheaper stereo pair like GAP R1-As or Cascade Fatheads. And see how I like them. Then later maybe a Royer R10 or R121 if I can afford to try for guitar cab, and mono drum room mic. To be fair, on overheads, I do prefer the darker smoother character even of Beyerdynamic MC930s to most other SDCs I've tried. My cheap Line Audio CM4 sound better than most too. My JZ Vintage 67 LDC sounds good for strummed guitar, but I only have one, so mono only. I've used vintage 70s Calrecs CM1050s in the past, and they sounded great on acoustic guitar and overhead too. Used to go for about 500 a pair, now they sell for similar price to the Soyuz 011.
@@compucorder64 The Fatheads are a good place to start with ribbons. That's the first pair I bought years ago, and they still hold their own with much more expensive options. By far the best budget option ribbon.
@@MillSounds Good to know, thanks. I feel happier buying relatively affordable kit like that (or Shure SM7b, EV RE-20, MD-421II, Line Audio CM4), that will still have a use and hold it's own later.
This is great! I have both the hardware CA-70S and the plugin too - had been thinking about doing a similar video, but you've done it way better than I would! I definitely notice more chunk and a slightly (very very slightly) smoother top when recording - the mixbus was much harder to seperate! I'd been thinking about getting a second CA70S, but the plugin might be stopping me doing that - at least it makes it trickier to get the wallet out.
He could have used other major brand axes😅 …for those who aren’t into Taylor sound …e.g. Collings or Santa Cruz OM’s🎉 btw Thanks …the difference is obvious but could be dependent on wood make up had he used another guitar that’s built with spruce y hog
Brilliant video. The first time I learned about ambisonics was when I went to an audio engineering school for 2 years in Oslo, Norway, back in 1987. My teacher had an original Calrec Soundfield microphone which he had used on many recordings. I have always wanted to do ambisonic recordings but I have done live sound most of my career so I never got around to it. But now I have my own recording studio and this video was a great inspiration to go get an ambisonic mic. Thank you for this most beautiful video.
Is just one preamp/p48 required or 4, one for each capsule? Ah, found it, 4 preamps are required: “Preamp Level Matching Use four identical preamps and ensure that all four channels are set to equal gain. This is crucial to capture an accurate sound field and prevents any discrepancies in your recording.”
You need 4 channels of the same preamps with phantom power (think of this as 4 microphones in one body). The better you’re able to match the gain in each preamp channel, the better (they all need to be set to the exact same gain setting). I use 4 channels on my Universal Audio Apollo interface so I could set the gain exactly the same.
Oh no, you’re one of “those” people? 😂 Ya, I’ve always done drummers perspective, the other way drives me nuts. I have a lot of friends that started out doing live sound and have to do audience perspective, so I get it…
@@MillSounds One of those people? Hm, I did not know that question belonged to a people. For me it was just a question that popped up, when listening thoroughly to your proces during the whole video. I have never done live sound other than for myself (and I am not a drummer). Logically though, I picture a band in front of me when I hear music that sounds live-ish as in this case. This is typically a (double) mono experience, and thus we ought to mix everything in mono, but stereo came around to simulate that we were actually there in the room with the band. That would in principle mean that a drum set played by a right handed drummer always had the small tom and the hihat to the right. Therefore, I was fishing for the answer that the drummer in this particular band might be left handed and that you respectfully reflected that which would have been a very elegant and subtle gesture in my opinion. I did not know I was walking right into a storm (if that is what I did). :-)
@@steensvanholm I was trying to joke with you, sorry it did not come across that way. You did not walk into a storm, this is a common thing in the audio engineering community and is usually joked about. There is no "right" or "wrong" way to pan the drums, but you'll find many engineers strongly prefer to do it one way or another. If you started out doing live sound and were mixing shows in stereo, you would be very used to mixing from the audience perspective. When I first starting learning in the studio, I also started to play the drums a bit and was use to hearing the drums from a drummers perspective. Most drummers want drums panned from the drummers perspective in their headphones as well when recording, so I've become accustomed to doing it that way. I've had a few clients request the drums be mixed from the audience perspective on their mixes, I still have to mix from the drummers perspective and flip the stereo image at the last minute to send to the client. When you originally posted, I thought you were trying to joke with me. Again, this is one of those on going jokes in the audio community, and people "joking" give other engineers a hard time when they do it a different way. You can do it however you want though!
Great videos! <3 thank you! I'm looking for some large condenser mic that would work nicely with amps except for voice and acoustic instruments. Would you go for bomblet or 017 fet? Here I like bomblet more comparing to 1973 for it's more open sound... I wonder if 017 fet can be even better...?
I only have experience with the 017 in two other studios, so no direct comparisons here in my space with it. The Bomblet is definitely going to be a bit darker and thicker, it's got a lot of vibe and I regularly compare them to ribbon mics on some sources. The 017 is going to be more open sounding, but still pretty smooth on top. I don't use the Bomblets for vocals very often, so if vocals are more important then I would definitely go with the 017. If you want a more folky, vintage sound on your acoustic instruments, the Bomblets are absolutely amazing. If you want something a little more modern sounding and big for acoustic instruments that's going to be a top tier vocal mic, 017 all the way.
@@MillSounds Thanks for a quick response! I already own N22 which is very nice and smooth, it's also great on acoustic guitar, especially together with small condensers. I'm looking for something bigger sounding with nice highs. So seems like 017 fet would be one to go from your description. Thx 🙌
They're definitely close a lot of times. Regardless, the plugin sounds amazing and is definitely worth getting. MixWave just did a new plugin of the Hazelrigg VLC preamp (DW Fearn based), I'm sure it's amazing as well.
Thanks for comparing it with other pres. There are so many videos out there that don’t do this. Having a frame of reference really helps. Funny enough I went from being interested in the UTAs to being reminded how awesome APIs are
Perfect demo video. Traditional familiar source sounds - bread and butter instruments, well recorded, good song. From individual tracks to cumulative effect. Beautifully filmed.
I agree with the other folks the Solid state version is just so punchy. I think if you have a good sense of saturation and a good tube mic for vocals the Solid state might be the way to go here
I feel Berthelsen Interface of this is unnecessary clumsy. Would like to see some features like: - a toogle switch for auto gain - mode switch on the UV-meters to se gain reduction - option to bypass the saturation
Thanks for doing this. Learning a lot from your videos. Hope you can help me on this: I have 2 coils CA70´s and use them for tracking drums, on rooms, but just can´t get to that point of distortion you get in 36:00. Maybe because you use another preamp before the coil and you get more gain? If that´s right? Which preamp? Or maybe because you use condenser mics. Muchas gracias amigo!
You're more than likely not going to be able to get that much distortion during tracking running right into one of the Coils. At the 36 minute mark on drums, I'm running line level signals from my DAW into the Coil, then switch the CA-70 to "Mic" level (I do that around the 35:56 mark). You're going to overload most preamps if you run a line level signal into them at Mic level. If you want to get this same result when you're tracking, you'll have to start with another preamp and then plug that into one of your Coils. If you run the Coil at Mic Level, you'll get some pretty audible distortion. I've done this on drums a few times. I'll take one microphone that's picking up the whole kit and run it into my API preamp to get some good level. Then I'll run that into one of the Coils at mic level and get some crazy distortion, then blend that signal in just a little bit with the rest of the kit. It can add some life and nice attack to everything.
I spent a week trying to register and activate ARC Studio 4... what a navigational nightmare!!! I gave up in frustration and returned the unit... the salesman was not the least bit surprised to see it come back. It appears IK Multimedia has a negative reputation when it comes to their online registration and activation procedures. IK Multimedia gets 2 thumbs DOWN from me.... epic fail.
Just wanted to say that I bought the SSL UF8 and UC1 in order to have a more tangible feel for mixing and automation, and watching your video as I try to navigate the setup has been tremendously helpful, and watching/listening to you mix without having the visuals of Pro Tools overwhelming and affecting the mixing process, has pretty much sold me on this. Thank you again, and definitely subscribing!
