As a Budget Home Studio. I've gotten some pleasing results with a Lewitt LCT-440 Pure & an ALG Perceptions 420. Even pulled the Sennheiser e609 off the Mesa 4x12 for some Backups & layering.
Man, what you said about singers performing better when they hear compression is SO TRUE! When I have some compression, it literally makes me a better singer. More confident, more powerful, more nuanced, because even when you go soft, the compressor helps you out, and when you push, the compressor pushes back and shows you you don't have to be afraid of overloading the mic.
Never thought I'd hear about Brauner mics, been recording on one for more than 10 years, but clean vocals exclusively. Everyone who tried it liked it very much.
I used a Behringer Ultravoice XM8500 (20€) into a Behringer XENYX QX1222USB Mixer (180€) on my first vocal cover just now. It did the job, you can find a video of that on my YT profile. I'm just entering the world of (home)recording vocals, so I appreciate this kind of Videos Herr Kohle.
This is a grandmaster level presentation- you took a complicated and nuanced practice and opened it up to anyone inspired to be in the musical kitchen. Many videos fall into gimmicks and bandaid solutions, while another group of instructors may be experts, but they more or less tell the rest of us to go back to our plugin coloring books and practice on cheap gear because we “clearly aren’t worthy of a real gear discussion.” This didn’t do any of that- you gave us precise, professional ingredients and made the process seem less intimidating. I say grandmaster, because some of the truly greatest chess players are also able to capture the complicated and break it down to a level that even small kids can understand. They are most qualified to show us what is even going on! Really good artists tend to get straight to the point- they literally make art seem so self-evident. Okay, enough praises. Saving the video and feeling inspired.
I use Seventh Circle Audio preamp kits that I assembled. I have four "Neve" and eight Jensen TwinServo (a la John Hardy). I LOVE the TwinServo! Big and clean without being sterile. One of the unsung heros of rock vocals, in my opinion, is the EV RE-20. Like an SM-7b except it sounds good! Also brilliant on kick drum, bass, and horns.
I use the Howard Benson vocal plug in. it has a vocal compressor ,EQ, multiplierr, width, echo(delay), space(reverb) and an output. It has lots of presets.
Although the audio quality was atrocious, I always liked the "hold" feature of the CBS audimax. Your compressor is releasing and dragging up the singer's breathing. The more compression you add, the more out-of-breath he sounds. The audimax had a hold feature, where the gain reduction would freeze when the input level dropped below a threshold, rather than releasing. It would track vocals very quickly, but it would freeze when the vocalist stopped singing or talking to take a breath. It had 3 switch selectable release speeds, slow, medium, and fast. I didn't find slow very useful, so I changed the resistor on that position to make it "super-fast".
What one calls „out of breath“ is perceived as „more intimate“ by most people these days. It seems like audible breathing has become an integral part of an emotional vocal performance in the last decade. Total matter of taste of course.
You just sold an Austrian Audio OC16. I'm finding more and more that starting with a mic that isn't hyped in the high end, and then mixing to taste, puts you in a much better spot. I've got a few mics that sound "great" on their own, but just as with headphones, I'm realizing that sounding "great" in one situation might mean sounding very poor in most others. I tried a relatively cheap ribbon mic that I was initially disappointed in because it was "dark," but taming the bass and boosting the high end resulted in one of the best sounds I've ever recorded. It was crisp and airy, but had a mid-range detail that I loved, and have always missed in even high-end condenser mics. The OC16 seems very natural to me, so I'm excited to get my hands on it. Thank you sir.
Exactly! Adding some highs if needed is much easier than trying to get rid of harshness. Good choice! Make sure to check out: www.kohleaudiokult.com For more!
I bought this Tegeler because of your video. I didn't know it existed and I ordered it from Thomann to try it. IT STAYS AT HOME!!!, I'm using it with EXACTLY that DBX 520. It does the job phenomenally and sounds super, super good. Thank you Kris 🤘🏼🤘🏼
my honest vocal chain: Golden Age R1 Active MK3, Akg C3000, Shure sm57, Roland Dr15, in normal or midSide configuration: cardioid -> Art MP Studio V3 ->Symetrix 528 -> line 1 EMU 1820m; ribbon ->line 2 1820m. Ultrasone Proline 550 -> Focusrite Vrmbox headphone amp for tracking. I think to have better results for a 20% I had to upgrade for a cost ten times bigger... :-)
The advice about the space the vocal is recorded in was so helpful. The rest I’ve basically understood myself already over time but I haven’t thought much about the space… as you’re saying it I’m thinking back now and can remember the difference but hadn’t been mindful of it, every other detail on my end trying to get absolutely right and now just realised I didn’t have to work so hard if for someone vocals I had a bit of a wider space, even less if one for a couple. I thought big about mic placement in regards to the vocalists mouth but not the space. In my head I was deadening the reflection and that was it, but there’s also a need for air space generally obviously. The first part you spoke of, totally agree and is what I focus on myself. Feed back and more emphasis on the positive feed when is most important. I have in my head this thought about choosing the right microphones and preamps and so forth and in my head to get the best result from the singer I basically will have them sing into a wall of microphones lol… those are then going into microphone splitters and then into a bunch of preamps… I then choose one to do the rest of the processing to be microphone they are hearing in the headphones and then just have a who bucket load of mic and preamp options to choose from myself. Which I’ll then feed back out to add the processing when I know what I’m choosing and then the other tracks are then saved in the background if I want to swap the chain later on. Lot more work for me, but as the studio head, I don’t get board of that. To me, if it’s a vocal track, the vibe of that is always the most important and what I then work the track around… so in my total production method that is my source that I’m then working from also. Everything else isn’t less important, it’s just the vocals is what it is all going with.
I usually have a 3 or 4 mic array set up and make the choice afterwards….includig a measurement microphone as absolute reference…sE RNR1…sE Gemini II…Sennheiser 435…and often phase align them and mix‘n‘match…and the RNR1 on guitar amps-jaw dropping…and singers react differently to raw signal against processed
The Austrian Audio is a true no brainer. I have used it extensively for the past year on vocals and other sources. Also great as a stereo room mike. I can imagine that these mics will increase in value over the next several years as people become more familiar with them. I sold my tube mics and a Neumann TLM-67 because with the 818 I can get all the character I need from my RND Shelford channel.
I love how your decisions focus on getting a better performance out of the talent. Something I'm thinking about, whenever people try to compare analog outboard vs. plugins, I think people forget about the tracking process. Being able to monitor the performance in the headphones with compression and EQ probably does more to the performance than how that outboard gear actually sounds. Is that the real benefit of outboard gear?
Fantastic video Kristian ! That Tegeler was on my list for an Opto, and you just comforted me to get my hands on one ! I usually work on soft and folky music but I think everybody can get a lot from this video anyway :)
Very much appreciated analysis and demonstration. I’m starting my home studio journey with lower end gear and will do live processing and split to a dry safety track.
hi kristian, one thing i have noticed when viewing your excellent videos, is your own sound when you are talking. it is crisp and very defined without being sizzly or harsh. a lot of other pro audio channels sound rather muffled/mid rangey. cheers. j.
Thanks! 🤘❤️ My videos may not look world class, but I have been producing sound for 25 years, so I make sure they sound great. I’m using studio mics only. Clip on mics and all that miniature shit sucks!
I enjoy watching your videos! I started home recording last year and I learn a lot from your channel. I have a nice iMac workstation with PreSonus monitors for recording demos and constructing songs. Thanks for educating and entertaining us with your videos!
i use a €50 - Beringer Mic 800 preamp, has phantom, low cut,(nice to delete low end rumble) a simple neutral limiter, to prevent clipping on my also very cheap €70- Behringer Umc202hd interface, and since i bought the Rode Nt1-a (€159-) I don't have to eq my vocal (classic rock} anymore on the way in, this mic sound just so great, and not only for the money, So for less than €300- I can record Ac Guitar, mike a cab, or have a great sounding vocal. Yes Behringer is more noisy, but with some proper gain staging a noise floor of -60dB is good enough to work with for me.
That was a very pleasant and instructive video! My only hardware preamp is a UA 6176 and man, since I got it, I could not live without it. Sessions run smoother and the prepackage audio needs less work ITB. Thank you for the inspiration!
Just be careful not to overdrive the preamp. It gets really nasty fast. I had to mix countless distorted vocals in my career that were all recorded with 610 preamps. 😇 But don’t get me wrong. It’s cool. The compressor is really nice.
@@KohleAudioKult You're absolutely right. I had an issue with bass. I had a weird farting noise on some parts. The problem was the +5db on the input drive. Oops! Lesson learned.
Nice roundup. I have two Midas 502s and two Cranborne Camdens in my 500 rack as well. I think the Midas units are highly underrated and not taken seriously because of their price.
I've been recording for decades. I never overdrive my mic pre's either!!! And I agree 100% with your reasons. I would love to try Austrian Audio mics some day!
Hello Kristian, thank you for this wonderfull video!! As always, with very easy to understand explanations and practical details!! Keep on doing your videos in your style!! Best regards!!!
I also love and use the TLM193 a lot - totaly underrated microphone! As you say, it's always easy to dial in some highs but taming a Brauner ... is really hard work :-). But it looks like I have to talk to my buddies at Austrian Audio ... they really know how to do microphones and their stuff receives great reviews. Time to do a testrun.
I actually like the Midas 502 on vocals. I have the Camden but am using it on something else because I thought it sounded too clean on vocals. My mic locker is not so great just because I have limited funds I have a few modest low priced large diaphragm mics, one of which is the Blue Bluebird that my vocalist actually prefers on his voice. That mic plus the 502 sounds great in the mix. I did have a chance to borrow a tlm 103 and that just blew me away. Had to return it but I am definitely going to be adding one to my locker hopefully very soon.
I have 8 channels of API 312 pres, 4 of which are API A2D's which have incredible A2D converters. I also have 2 UA LA-610's and a twinfinity 4-710, which has 8 great sounding converters and 4 1176 style compressors as well. I really like them on toms. I also have 2 Neve 1073's and I bought two 500 series Camdens upon your video reviews of them and really love them on bass and kick. I think the cream setting distorts a little fast for my taste, but I have an inline pad that can cut -10, -20 or -40 dB and I may put it on the output and see if I get a result more subtle that I like. The thump setting is killer on bass and kick drums though. I run the Cranborne's and 1073's into the 4 extra a/d converters on the UA 4-710. I also have a bunch of mic pros that are very solid sounding press on my console, which i run th A2D's into via SPDIF, the 4-710 via adat. Which leaves me with 16 analog mic pres on my console that i can route out of the 64 I/O interface card, which are there if I need a few extra channels and are the only pres I use the converters in the console/interface for maybe snare bottom, hihat and kick trigger and snare triggers DI'd in like piezo mics for creating midi information that is as sample accurate as possible. I used a TLM 103 for many years when I was starting out. I've had an SM7B for about 15 years, but usually discourage vocalists from using it unless they really have an attachment to them. Which a lot of screaming vocalists do. I think it's because it creates that same mid range boost that cupping a mic on stage does. Which I'm also not a fan of haha.I now have a U87 as well as some great Blue mics that I'll be making some videos with. The dragonfly's have become my new favorite overhead mics and one of my favorite vocal mics. The Mouse is also fantastic. Trent Reznor uses the Mouse on all his vocals in the studio. I know you don't like small diaphragm condensers for overheads, but I've started using SDC's in an XY on a stereo bar dead center over the kit and fairly low. Then I place 2 LDC's in a wide spread stereo pair higher up and a bit further back than the SDC's which are dead center over the kit. Ive found that with a transient designer on the SDC's, you can get all of the high end fidelity of the shells and with the transient designer you can actually lower the cymbals and boost the shells and get all the bright snappy attack with the SDC's and a warmer and smoother sound of the cymbals with the wide spread LDC's and even out the shells a bit. I put the Native instruments Transient Master on my room mics as well and pulling the sustain back let's you get more of the shells and less of the cymbals in your room mics. If you've never tried it, give it a shot. Pretty cool. on the SDC's, you can get all of the high end fidelity of the shells and with the transient master you can let the LDC's pick up more of the cymbal sound and smooth out the over all stereo image of the kit.
Great show! Thank you for this. I'm about to record my own vocals for my home project. I'm using a Warm Audio WA47jr microphone going into a Presonus Studiolive 32sc. I'm using the onboard compressor and EQ. Have you ever tried teh WA47jr? If so, I'm curious to know what you think of it. Thanks again!
This was extremely helpful for my vocal chain - won't be at the pro level of yours, but I think a solid condenser + pre + compressor will fit my workflow and budget for the moment. Beyond that, I think the subtleties would be lost on me anyway. Thanks for the great tips and time it took to make this video!
Man this is the first video I got to see from your channel and it’s just f*cking awesome. Thank you so much! Would love to see your chain for softer vocals. Keep it up! 🙏🏽
It was fun to listen to the before/after, and how you dialed it all in. Great learning experience! Personally, I would have increased the de-esser, but the difference was definitely strong, and the mix just sounded so much more life-like! Awesome to watch a pro at work!
Great video as always! I’ve been following you since URM and your videos were always the ones that captured my attention! I’ve been trying to upgrade my game and the 500 series are tempting, just one question, does the rack transformer noise on the slots closer to it actually exists or is it noticeable at all?
@@KohleAudioKult I’ve heard people saying that some “racks” like the Midas L6 were noisy on the slots closer to the transformer. For example the last slot to the right would be noisier than the left most slot. Maybe it’s a budget rack problem but since I can’t justify spending that much on an hobby I was afraid to find that on a unit I might purchase. Anyway thanks a lot for the reply and the awesome content!
Hi, I am using a Midas Legend L6 and i am not sure, but i think it's depending on the unit. For exemple if i put my Neve preamps in the last slots, they are still dead silent, but my API 312 has a little (low freqvency) noise, even if is away from the power supply. The Neve's are covered totally in a metal box, but the API's are not. That may be the reason for that...
@@csabaszatvari250 I'm using SSL six channels with a Midas L10. I have 8 channel strips yet with the last 2 spaces empty. No noise or feedback or anything. I'm pretty sure that it depends on the unit yout put in the rack.
Just found your video, and WOW. Fantastic tips and tricks, brother. I'm getting started with my small recording studio. This vocal chain is on my list right now. Thank you for your great video. Cheers! 🙏🏻
Sehr imformatives Video! Ich benutze das Lewitt LCT 540 nun ca. seit einem Jahr und bin sehr angetan und zufrieden mit dem Sound! Ich stand zwischen dem LCT 540 und dem Shure Sm7B und bin froh, dass ich zu dem Lewitt gegriffen habe. Geniale, noch zu unbekannte Marke, meiner Meinung nach. Das Mic lässt jegliche Emotion und 'over all' das ganze Leben in der Aufnahme, ohne zu harsh zu werden.
@@KohleAudioKult Ja, da hast du recht, ist heller als die anderen die ich bis jetzt ausprobiert habe, muss man natürlich mögen. Mir passt es super rein, da ich bei meinen Vocals oft in's melodische abschweife und der helle Grundcharakter des Mic's die Emotionen und die Atmosphäre grandios einfängt, ohne irgendwie "schrill" zu kloingen. Für Shouts etc geh ich dann einfach ein paar Meter weg und lass den EQ die Arbeit machen xD Fun fact: Beide Hersteller sitzen in Österreich und waren vorher bei AKG beschäftig. (Lewitt/Austrian Audio). Sag gern Bescheid, wie das Lewitt bei dir abschneidet - Video wäre natürlich optimal :D
I’ve been looking for a swap for the 7B, thank you Kristian! I’ve just gone for an api 512v, into an mpressor 500 for my first hardware chain. If you look at my latest video where I demoed Odin 3, you can hear my vocals there. ❤
Currently, my personal favorite vocal mic is a Luke Audio AL-Y59 tube condenser mic with a A2-67 capsule. I run that into a re-tubed- ART MPA II pre. I Then run into a Hairball 1176 bluestripe and a KT-2A comp. (very underratted little opto comp for tracking!) I love the results, might have to snag a 520 though! I have a L6 rack, sitting pretty and collecting dust that i'd love to put to good use! :D Awesome video dude!
Another great video! I'm actually just about to begin recording some vocals. Not really done that before, and had no idea what to do. This gave me some great pointers! Thanks! \m/
Just got the Cranborne with a couple of Camden preamps, my setup is still at the beginning stages, have an AKGP120, AKGP220 and an SM57… Mostly tracking guitar and bass though and vocals now and then, the P220 sounds pretty good to me on nearly everything… Came here looking for a direction to go with it all… Buying 500 series gear is a major headache with so so so many choices and prices… It’s nice to see at least the preamps I’ve got on the way will do the job…
Hi, nice video and good sound ! Wich cheapest microphone did you prefer for poor producer as me ? :-) and good vst as well to imitate your analogue chain ? Of course the quality ITB will be lower...just to taste a flavour close a bit to the real... For the quality of the singer performance I suppose you have and set another session dedicated to the recording phase, to maximize the quality of the listening of the singer, for this phase what are your technical choise, including headphones and amp as well ?
crazy thing is i have r8 and camden 500 and already settled to buy vocal leveller (they will release 500 eq feb 1st thought maybe i'd buy them together) and your video popped up in my suggestions ! Glad to find out somebody already had my ideal vocal chain and rockin with it! i'm using a 87 clone and and second camden on cream a little bit to give some tape saturation and remove some muddines. Now i'm confident tegeler will improve it aswell!
Cheers for the DBX heads up as I like having shit to plug into instead of computer plugins. Something I can actually nearly afford soon enough. Sweet ,SLÀINTE MHATH AAAAAARRRRGHGGHGHGHGH
Have you ever tried one of those condenser microphones which are made for stage, like for example the beyerdynamic tg v96 or Neumann has also some? I think those might be good alternative, too, when you want a bit more detail than from a dynamic mic but not as much as from a standard studio condenser microphone.
After watching this video, I went and acquired a Tegeler Vocal Leveler for my ADAT 500...going to try it out. Been looking for a reliable and easy to use optial compressor for 500 series rack!
Hey man, don't suppose you tried the FMR RNLA500 in this use-case? It's a bit more affordable though I'm not sure how the performance will compare with the Tegeler...
Nice video. I love the hearing details about gear!! I also look for relatively affordable gear that gets the job done. On clean vocals I often use an ELAM251 clone from Open Plan Recording, awesome hand made mics from a small Australian company for a fraction of the price of a real Telefunken mic. It’s like a c12 but less sparkly and more balanced. It’s honestly so beautiful and detailed sounding singers fall in love with their voice every time I throw it up. If anyone is interested in owning a classic neumann or telefunken mic, he makes them in small batches with multiple price options depending how close you want it to original spec. And he does some cool ribbons and pencils too. For aggressive vocals I’ll sometimes throw up a Senheisser 421 which sounds a little scooped with an in your face upper mid. And it doesn’t cause issues if the singer wants to hold it. The head basket design stops a lot of plosives. I’ve used the inexpensive lauten La220 black, which has a nice colour to it being a fet condenser.. Though I find it a tad sibilant and you have to be careful not to over do it. For compressors I use a old Klark Teknik Dn504 plus on the way in. It’s really inexpensive on the used market but people rarely part with them because they are a bit of a sleeper. 4 killer clean vca comps in 1 rack u, I’ll even use it for serial compression. Or I have a summit tla50 which is quite invisible sounding as well. Something like an la3a to my ear.
That compression thing was an eye opener! I have been planning to get a harware compressor for vocal stuff and now I have real reasons to it! 😀 how do you think fet and opto compressor would compare?
I'd love to see a video on the new SE Electronics DynaCaster... with the V7 capsule it might be sounding much better than a sm7b while still not being that sensitive as a condenser... this might be the perfect combination the THE new metal vocal mic
@@keithferris9574 I switched them in my mind: I meant the Sm7... I use a "V7 MK" in the rehersal room and it sounds way better than my sm7b ... I totally agree... I also did beautiful recordings with the V7... the new Dynacaster might be the next generation sm7...
Thank You Sir. Can't believe i just watched this video for free. Came intending to just watch the final tests, but hearing you explain the nuances and mindset behind every tweak, I just got stuck and couldn't skip. I cannot believe that i just watched a 40 min long video. It seems like it ended in 10-15 min. I literally feel blessed to have stumbled upon this video. This was like a home studio internship. Mad Mad Mad Respect...❤🩹
@@KohleAudioKult DI bass and guitar, drums, and guitar cab. i barely notice the differences with vocals. sources with heavy transients or that cover more of the frequency spectrum make more of a difference with different preamps, in my opinion.
I like your discussion about avioding harsh frequencies in microphone choice. Would a ribbon microphone work for vocals in that aspect? I think I might buy a SE VR1 ribbon for recording vocals. Do you have any thoughts about if that would work?
Thanks, Kristian! Really great video! I'm just getting started on my recording journey, and I'm really curious about recording harsh vocals with a much more budget microphone that isn't an SM57/58. I've been looking at a MXL 990 condenser, but I'm not sure how it will handle gutturals and such. Maybe a video on budget friendly (like 200 US and under) vocal mics in the future?
@@KohleAudioKult That reminds me: over New Year's Eve I was working a gig with a band and the Location was REALLY strapped for mics. One of those was that Sennheiser one you mentioned in the video. So I used that for the vocalist (though he wasn't into the idea at first, I talked him into it, thanks to that video) and gotta say: Yeah, that thing totally does its job (if you brief the singer on how to sing into it, but since he was playing guitars anyway, it was on a stand the whole time)
There’s basically just one Opto setting with 10:1 and the release on 0 and the attack on 10 (or the other way around). I usually also have both high pass filters engaged.
Always „Tacheles“ as ever, like what you say, think like you too when choosing mics, at the moment my favourite is the sE RNR1, some Rupert magic with a ribbon, also the sE Gemini II, dual tubes, nice for screamers!
@@KohleAudioKult you must, it will make your brain explode, ribbon sound with condenser detail and extension in the highs but silky smooth.The thing that blew me away was on guitar amp, compared to the usual suspects, all with matched input gain, I needed 6-10dB less on the fader for the same „presence“ in the mix, and it sounded far superior……..get one to try and I don’t think you’ll give it back, as far as I know it’s the Nashville go to mic for mic’ing guitar amps….
Excellent video. I learned a lot. You explain things really well - very practical approach. I record myself at home and have 2 external mic Pres, one tube and one 1073 style. I’d like to get a compressor for recording vocals - I think it’d help me get a better performance. But I was just thinking to really hear what the compressor is doing I’d need to have it up at eye level so I can see the GR. I’m wondering if singing live into a compressor would help me develop a better ear for compression - compared to what I’ve learned using plug-ins later during mixing.
I’m very „pro compressor while tracking“ and I’ll suggest that you try it! If you like my style, make sure to subscribe! I’m coming up with my own Academy in October 🤘
Excellent video as always. Been having my eye on that 500 rack, seems like it will unlock a whole bunch of possibilities. Be interested to know what you think of those Midas preamps? They seem to tick the boxes but how do they stack up in the real world. Is it actually much of an upgrade from a standard interface preamp, or do you just need to spend a little bit more to really make it worth it.
They seem to do a great job and the meeting looks great too. My question is rather how they compare to the high end stuff that I usually use. They’ll be a part of a preamp comparison video soon.
amazing video bro. overtones in vocal is sth i detest indeed. have u by any chance tried Lauten mics? the Atlantis sounds like da one u were looking for to me. have u tried it by any chance?
@@KohleAudioKult the atlantis is the one i have. n i own austrian audio as well. i tested both simultaneously n atlantis with neutral / gentle has far less overtones and disgusting high frequenxy (like metal steel scratching) sound. (if the vocal has that tone)
Wow, I hadn’t seen another mic that used the condenser capsules separate connection to do the post recording change of polar patterns. I only knew of the Lewitt LCT 640 TS, but that one doesn’t have the multiband setting as the Austrian Audio if I am not mistaken. Would love to see a comparison between the two if you ever got a chance to get your hands on a Lewitt 640. At home, I have a Presonus AudioBox iTwo interface with a Lewitt LCT 441 Flex, a Lewitt MTP 550 DM (for an SM58-ish sound without being the same), and a PreSonus M7 condenser that came with the interface, that I use for vocals. I also have an SM57 that I bought for guitar cabs, but could try with vocals, and an old Tascam dynamic that came with a Portastudio that I bought back in 2006.
Great and very useful stuff! In a home recording environment this is very hard to achieve, if you have a microphone and an audio interface only. Sure, there is always a line-in input mode. But this is a lot of gear... I'm starting to buy some stuff for recording a kind of a black metal voice, at the moment I use really cheap old microphone MXL Cube which is not manufactured anymore, probably because of how it looks, but I have it for like 10 years now, and at that moment it was better option for me than the cheaper and very popular 770 and 990 because it has a full-size 1 inch capsule, less self noise 14 vs 20 dB(A) and less peaky highs. Now I have hard time trying to find a replacement for it. I'm looking for an affordable mic which is well balanced, especially in the higher range. I think of AT4040 or maybe sE X1S... I'm at the beginning of the road anyway. My first recording attempts using this old MXL Cube you can hear e.g. here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-eMoZA3CjZV8.html
Hay man love your channel was just wondering do you have the raw vocal going through the midas 502 & the cranborne camden before the tegeler, then through the de-esser ? what about the EXTC from Radial can you use that on vocals if you pushed them through an effects pedal like say the plethora x3 then into the radial if you wanted to track an effect channel.
sounds great k, im having great fun with eq my beyer m160 ribbon into an avedis e27 eq seems to get it done, clean preamp on a prism, i dig that chain mic and 500 series ge great results for vox, like the dbx at source too
