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Old 05-22-2019, 07:16 AM
The Kid! The Kid! is offline
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Join Date: Jul 2015
Location: Buffalo, NY
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Originally Posted by rmp View Post
I am finding pretty much what you're talking about.

Subtle changes with varying mic positions, even if you use the same relative position, you get something different.

I've been doing two or three at a time, and then keeping them in slots next to each other to compare, overwriting the ones that are the least appealing to what I hear

I'm taking notes as I go too, just to see what the patterns of mic placement do for variance

I do need to have a better way to organize the wave maps. I like the sound of your method.

I am using an AKG C 2000 B condenser. I'm sure if I used a better mic, I'd get better results, but that's all I have available at the moment.
I am fortunate to have a good enough relationship with the studios that I work at to borrow a mic and cans for a night to take home. Call some studios and see if they'll rent a mic out. I still want to try a Slate ML2, but the SM81 has been fantastic.

Tried a Telefunken and an AKG that were ok, and didn't like the Neumann KM185 at all. It had a upper midrange presence peak that made the wave maps sound nasally.

It's definitely worth recording as many as you can, reviewing them, and saving the maps that you like. I like to record a bunch and review as I go, but this time, I had it set up to review immediately through a PA speaker. It allowed me to scrap a couple right away and re-train.

This was the first time that I trained with the tone wheel in the middle. Not sure if it makes a huge difference, but I read that somewhere. I got my best results yet.

Also, pay attention to the input trim.
1952 Gibson J-45
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