MASTERCLASS: Record Acoustic Music And Hear Cheap vs. Vintage Tube Mics 

Thanks, share it!

Great, share it to others (both the RU-vid Things and the Bible:-)

Thanks! Let others know about it!!!

Thanks, it would be great, if you share it with others:-)

Great, share it with others!

Thanks, share it among others!

Great, let others know about it! (and check my mixing bible on www.danieldettwiler.com

thanks.

Thanks. Please let others know about it!

Thanks, let others know about it. And check my mixing Bible on www.danieldettiwler for an even more deep learning experience:-)

@@danieldettwiler.official I guess you didn’t see the second part of my answer;) that’s ok, in any case thanks for your hard work and looking forward for your next releases- both paid and free :)

@@momchilatanasoff7456 o - you already did the bible:-) I actually read it, but as I have to read the comments rather fast I kind of overlooked that part and thought you would be referring to the RU-vid Videos. Great comment about the Bible, it was actually the reason that I did it, so that it helps to hear things and that everyone can improve. Cheers!

@@danieldettwiler.official too much comments and online stuff, it’s perfectly understandable :) have a great week :)

I do this by intuition and I don't have certain pres I would always use on certain instruments. that said, in that Studio, it's either Untertone Audio or GML. Preamps are important. But also not. I could also just have pluged every mic into the Merging Horus Mic Pre (that is also there at the studio), and then the recording would be cleaner, and I would have done more saturation in the mix. Important is, that the Preamps are of a good quality. But to place the musicians propperly, to have the perfect distance between the instruments and to finally place the mics perfectly, that's the real Art in Recording.

Thanks, spread the word!!!

Thanks..

The Bass would not be amplified in most of those old-school recordings. I don't remember if here it actually was, but 9 out of 10 productions, in which I record in the old school way, the Bass Player does not need an amp. The Drummer's Job is, to play at a level, that make's sense for the ensemble. Obviously, you need a good bass player, that has a strong sound...

Thank you for your reply, FT@@danieldettwiler.official

Probably a U47 Fet. I position it, so that it sounds good, there is no right position, it's different with every baddrum and every drummer.

Danke, lass es andere auch wissen, dass es den Kanal gibt. Checke auch mal die Bible aus auf www.danieldettwiler.com (da geht es dann richtig zur Sache:-) Snare mittig: ne, im Jazz falsch, sie ist ja nicht in der Mitte. Ribbons: Gut wenn es warm sein soll. lg dd

Thanks, share it! Room mics: depends totally how the room is. It should add space and glue…

I don't have any obsession, and I often record with modern mics, such as the Fleas or Soyuz, or other's. It's way too expensive to always bring in the historic ones. BUT: As I do have the historic Mics and as I often have done comparison, I can honestly say, that in most recording sessions you would get sonically a clear better result than with only modern mics. That again does not mean, that a recording session can not be done with modern mics, or that the difference could not be compensated with other tools. However, it is very clear, by all engineers that do have the old one, that they sound better, mostly it is the off axis sound, that makes the difference. In case you record in Abbey Road Studio, talk with the engineers there, it's fascinating. They are not stupid, and they would not use the old mics, if they did not clearly feel, that their recordings sound better. Rather, they would keep it in the safe and only use modern mics or reissues. I think it is important, to give respect to those "old" developers, that were able to create so good mics. This comment is not meant to come over arrogant. Btw. even Al Schmitt said (I knew him in person), that he does record with the new mics, but if he gets the chance of being able with the old one, in most situations he prefers them. His favorite Mic for Main Mics (or Room Mics) is the Neumann M50 and not something new.

@@danieldettwiler.official apologies.. my comment about obsession is not towards you but directed to the entire industry. People always speak of Old mics, old keyboards, old guitars, old horns and old drums and old old recording technology like tape. This just seems crazy.

@@vincenteoppolo9025 Ah, I see. Yes, like with Violins:-) But, that said, there is great new stuff too, and we all also speak about that stuff. But if you compare VOX Amps as an example, one from 1964 one from 74, and a modern one, it really does become clear, why we speak about the old stuff. For my work, to give the very best results to the audience (which is what I try), I use a combination of old and new technologies. I am absolutely sure, that if I only would use old technology, my end result would be worse. But I also know, that if I mix only ITB (I did this for over 30 years) the end result would be worse.

Thanks, Rob - Music and Musicians always comes first. Then it is our job to preserve the emotions:-) For young engineers, I think what is important, is that they are able to switch, once they have really great musicians. As you can (but also have to) mic differently. My first experience with this was (I was very young back then), when I had a chance to record a band with Mulgrew Miller (Pia) and Ira Coleman (Bass). All the typical problems of instruments, that I was used, having recorded students, were not there anymore. I was able to record them with more freedom and I was lucky that I did not just start with too close mic positions (as I might have done for students, to be able to fix problems).