AGF MEMBERS GEAR LIST, TUTORIAL VIDEOS, PODCASTS, & COMPREHENSIVE BEGINNERS GUIDE

[jim1960]

On post #4, I've added a list of companies who build acoustic panels. If there's a company you have used and can recommend, I'm happy to add them to the list. Just give me a link to their website.

[jim1960]

Baby Audio Smooth Operator has been added to the specialty plugin list along with a good video showing how to use the plugin effectively. It covers much of the same ground as Oeksound Soothe 2 but is significantly less expensive.

[jim1960]

VIRTUAL INSTRUMENTS

Do your recordings feel a bit stark? When you envision your work in your head, do you hear other instrumentation other than your guitar?

If the answer to either question is ‘yes,’ and you don’t currently have the capability to add more instrumentation on your own, you have a couple of options:

1. You can hire musicians to sit in and record on your song. This can get quite pricey unless you have some friends with the talent, the time, and the generosity.
2. You can use virtual instruments that are much less costly and don’t require much more than a keyboard controller and some patience.

Today, there are virtual instruments to meet nearly every recordist’s desires. Keyboards, bass, drums, are the essentials for many, but those instruments only scratch the surface of what is available today in the world of virtual instruments. You want a banjo, mandolin, an accordion, a horn section, pedal steel? Yeah… you can get those too. Want something more obscure… dulcimer, tin whistles, bodhran, maybe even a mither? You can get all of those and more. And the coolest thing of all, is that in many cases the software includes articulations to make the tracks you create quite believable.

The instruments listed here are ones some of us use and enjoy. They are by no means the only virtual instruments out there. You’re encouraged to explore and listen to sample tracks and to go on YouTube where you can evaluate the GUIs for instruments that appeal to your ears.

Also, please check the requirements for each instrument to make sure you have prerequisite software and no compatibility issues.

Have fun exploring and producing. And if you find something you think is especially good, let us know so we can add it to the list.

*The prices listed are full retail. Like plugins, virtual instruments will go on sale and the savings can be substantial.


PIANOS & KEYS

Virtual pianos have come so far that even accomplished players would have difficulty distinguishing the virtual from reality.

Keyscape by Spectrasonics $400



Pianoteq by Modartt $140



Garritan Abbey Road Studios CFX Concert Grand $200



Ravenscroft 275 $200



Synthology Ivory II $280



Native Instruments Noire Piano $150



UVI Model D $50



EastWest Pianos $300



XLN Audio Addictive Keys $200



Acoustic Samples VTines MK1 $100



Native Instruments Grandeur, Gentleman, Maverick, Una Corda, The Giant, Alicia Keyes $100 each



EZ Keys 2 from Toontrack is a little different because it comes with a midi library (which is expandale) that allows you to choose phrases in whole or part to put together and form a track.
Toontrack EZKeys 2 $180




GUITAR AMPS

IK Multimedia AmpliTube 5 $200



Positive Grid BIAS FX 2 $300



Native Instruments Guitar Rig 6 Pro $200

[jim1960]

DRUMS
Virtual drums allow you to have a drummer for any genre in your studio every day.

Toontrack Superior Drummer 3 $400



Toontrack EZDrummer 3 $180


You may have noticed both of those drum programs are from the same company (FYI – Toontrack offers kits and midi packs to meet the needs of most genres, including singer-songwriter.). If you’re unsure what will best meet your needs, here’s a comparison video…



Steven Slate Drums 5.5 $100



XLN Audio Addictive Drums 2 $170



fxpansion BFD3 $330



IK Multimedia MODO DRUM $200



Drumagog $100




BASS

Spectrasonics Trillian $300



Toontrack EZBass $180




BANJO

RealiTone RealiBanjo $60



Bolder Sounds Bluegrass Banjo V3 $60



Orange Tree Samples Evolution Bluegrass Banjo $180




Harmonica

VG Harmonica
$30



Chris Hein Harmonica $140




FIDDLE
There’s a performance distinction between violin and fiddle. Violins will be covered in another section.

Bolder Sounds fiddle! V2 $70
A multipart walk-thru is available at this link.


Traveler Series Bluegrass Fiddle $90



Traveler Series Gypsy Fiddle $90



Traveler Series Celtic Fiddle $90

*The Celtic Fiddle has a collection of loops & phrases available as well. $24



PEDAL STEEL

Impact Soundworks Pedal Steel $180




TIN WHISTLE

Ventus Winds Tin Whistle $100



Embertone Shire Whistle $20

[jim1960]

CELTIC COLLECTIONS

Best Service Celtic ERA 2 $260



Big Fish Audio Celtic Instruments $100



Bolder Sounds BOB Celtic Pipes $40




WORLD COLLECTIONS

MOTU Ethno Instrument 2 $370
*Playlist available on YouTube



PERCUSSION

Shimmer Shake Strike 2 $120



Klevgrand Skaka $30



Klevgrand Borsta $36



Loot Audio Easy Tambourine $10
*Video on Vimeo


XTANT Audio Paddy’s Percussion $36



Evolution Series World Percussion 2.0 $100




ACCORDION

Best Service Accordions 2 $200

[jim1960]

ORCHESTRAL

Spitfire Audio BBC Symphony Orchestra Discover $Free



Spitfire Audio Originals Intimate Strings $30



Spitfire Audio Abbey Road One: Legendary Low Strings $50



Sonuscore The Orchestra Essentials $100



Chris Hein Orchestra Compact $400



Chris Hein Ensemble Strings $400



Chris Hein Orchestral Brass Compact $170



UVI Orchestral Suite $150



EastWest Symphonic Orchestra $400



EastWest Hollywood Orchestra Opus Edition $800



Audiobro LA Scoring Strings 3 $500




SOLO STRINGS

Best Service Emotional Cello $200



Best Service Emotional Viola $200



Best Service Emotional Violin $200

*The engines for Emotional Viola and Emotional Violin are the same. Only the violin is featured in the walkthrough videos.


Chris Hein Solo Strings Complete $600




SOLO HORNS

Chris Hein Horns Pro Complete $650

*Full playlist of tutorials on YouTube.


Embertone Chapman Trumpet $30




SOLO WINDS

Chris Hein Orchestral Winds Complete $400



Embertone Sensual Sax $20



Spitfire Audio Originals Rare Flutes $30




JAZZ COLLECTIONS

Fable-Sounds Broadway Gig $200



Fable-Sounds Broadway LITEs $500

[jim1960]

MISC. FRETTED INSTRUMENTS

VST Buzz The Mither $Free
*Soundclips on product page.



SYNTHS

Spectrasonics Omnisphere 2 $500



UVI Falcon 2 $350



Spitfire Originals Cinematic Pads $30



Arturia Pigments $100



Roland Jupiter-8 $200



Ron Papen Predator-3 $160



Murst Instruments Glass $90



Zero-G Epic Horizons $100



AIR Hybrid 3 $130



AIR Loom II $100



AIR Vacuum Pro $130



AIR Xpand!2 $130



Native Instruments Komplete 14 $600
This is not a synth in and of itself, but this package contains a long list of instrument plugins, including synths, drums, organs, bass, etc.

[jim1960]

Microphones come in many types and flavors… tube, fet, dynamic, condenser, ribbon, small diaphragm condenser, larger diaphragm condenser …so many choices.

The most common microphone type used for studio recording is a condenser. Condenser mics can be tube or FET (solid state). A condenser mic uses a thin diaphragm suspended by a fixed plate. In general, tube mics will be warmer, more saturated, and have a smoother top end; while FET mics will be more detailed, honest, and brighter. Condenser mics are usually grouped according to diaphragm size: LDC (large diaphragm condensers) and SDC (small diaphragm condensers). Most condenser microphones have a cardioid polar pattern but some will have as many as nine polar positions. All these mics require a power source. FET mics use phantom power. Tube mics will come with a separate power supply requiring AC current.

Iconic tube microphones include the Neumann U47, U67, & M49; the AKG C12; and the Telefunken ELA M251.

Iconic FET mics include the Neumann U87 & KM84; and the AKG C414.

Dynamic microphones are less varied and usually less expensive, but many still find a home in even the best studios. These mics can handle high sound levels and are commonly pretty rugged. Most dynamic mics employ a cardioid polar pattern and do not require a power source.

Iconic dynamic mics include the Shure SM7, SM57, & SM58; and the Electro-Voice RE20.

Ribbon mics, while technically dynamic microphones, rely on a thin. metal ribbon suspended within a strong magnetic field. Ribbon mics almost always have a figure-8 polar pattern. Generally, these mics will sound low end heavy compared to condensers and dynamic microphones; however, a quality ribbon mic will take eq beautifully. Ribbon mics can be passive or active. Active ribbon mics will require phantom power and more preamp gain than most other mics.

Iconic ribbon mics include the RCA 44 & 77; Coles 4038; and the Melodium 42B.

All microphones have polar patterns that indicate where the mic will pick up sound and where it will reject sound. The three most common patterns are omni, cardioid, and figure-8 (bidirectional). Some microphones will allow for patterns that exist between the three most common.

Omni mics pick up everything.
Cardioid mics pick up what’s in front of them.
Figure-8 mics pick up what’s in front and in back.

This diagram illustrates the various patterns:


Some microphones can produce a “proximity effect.” This happens when the sound source is moved closer to a directional microphone. The result is exaggerated low end frequencies, which is sometimes desirable as good vocalists can learn to use this effect to their advantage.

Microphone manufacturers will often include frequency response curves on the product pages. These charts show what frequencies a microphone may increase or attenuate. For lower end microphones, these charts will be approximations. Higher end microphones will often ship with the frequency response measurements for that particular microphone. While these charts can be interesting, it’s not a good idea to base your purchase in any large part off a frequency chart.

Sometimes manufacturers will sell what they call “matched pairs.” These are supposed to be two microphones whose frequency responses are very close to identical. On lower and mid-priced microphones, this typically means the mics came off the production line in sequence and it is assumed the mics will have closely matching frequency responses. However, these mics are not being individually tested because that would add too much to the price. Some higher end manufacturers sell matched pairs based on the actual frequency response of each microphone. You can expect to pay a premium for those microphones.

All microphones produce some level of self-noise. Some manufacturers provide this level in their mic specs. Most mics today have satisfactory self-noise levels.

A microphone’s dynamic range (sometimes called “frequency response”) refers to the range of frequencies that microphone can capture. The specs will note a range. For example, they may say the dynamic range is 20Hz-20kHz which means the mic can pick up frequencies down to 20 Hertz on the low end and up to 20 Kilohertz (20,000 Hz) on the high end.

If you’re going to be recording loud sources, you’ll want to pay attention to the “Max SPL” spec. This spec will tell you how many decibels a mic can handle before distorting.

When shopping for a microphone, it’s best to be able to try it out in your studio. Trying microphones out in a store is fine but understand that depending on the size of your recording area and how well-treated the space is, any given mic can sound better or worse.

Ideally, you’d want to try a microphone in your own space; however, this does come with some risk. If you damage a mic, the store may refuse the return. Also, some stores charge a re-stocking fee for returns, so shop carefully.

Things to listen for…

A good set of ears is essential for creating good audio. Training your ears to focus on particular aspects of sound requires many hours of effort and concentration.

When listening to a mic for the first time, the first thing to assess is the general tone: Is the mic dark, neutral, or bright? Does it push the mid frequencies? Is it pleasant or harsh? Does it emphasize the low frequencies? Are they clear or muddy? Is the high end smooth, crisp, or brittle?

Listen to the transients. If you’re unfamiliar with that term, transients are the attack part of a sound envelope … the pick hitting the guitar strings, the consonants in a vocal, the stick hitting a drum, etc. Depending on what is being recorded, you may want:

• a fast transient response that really defines the attack (guitars, drum overheads) or
• a slower transient response that rounds out the transient imparting what may be described as smoothness.

Generally, the lighter the microphone capsule, the faster the transient response, and vice versa. Small diaphragm and ribbon mics will usually have the fastest transient response while large diaphragm condensers will have the slowest.

Listen to the amount of saturation or color a mic imparts. Most microphones will NOT deliver a flat response. The response will be colored by the harmonic distribution the microphone creates. For example, a U47 produces thick lows and has a mid-frequency push with rich harmonics in the low-mids. The U87, on the other hand, could be described as being sparkly on top, somewhat gritty in the upper mids, and having with a harmonic push in the 1-2kHz range.

Because proximity effect can be used to add weight to a vocal, it can be helpful to assess whether the proximity effect on any particular mic works well for you. As already mentioned, proximity effect is a characteristic of directional microphones. As a directional microphone is moved closer to the sound source, the low end will be increasingly emphasized. Ribbons will produce the most proximity effect, followed by cardioids. Omni mics will produce the least.

Proximity effect should be looked upon as a tool. Whether any given mic produces the effect isn’t indicative of that microphone’s usefulness; however, the effect should be evaluated because the effect can be muddy or boomy depending on the source and once applied, proximity effect is not easy to remove.

Choosing your first mics…

Choosing a microphone depends on the role it is intended for in the studio. If you’re looking for one or two microphones to cover as many bases as possible, that might lead you in a different direction than if you were buying a microphone for a very specific purpose.

In the home studio, the cardioid polar pattern is the most useful because it excludes more of the room sound than other microphones. Omni mics will sound more natural in many cases but in home studios, which are often inadequately acoustically treated, omni mics will pick up sounds bouncing from all directions. Mics with a figure-8 polar pattern are similarly problematic as they will pick up sound from the front and back equally.

To tube or not to tube…

This is strictly a matter of preference. Tube mics will usually add warmth and saturation to a track. If that’s your goal, a tube mic may be what you’re looking for. However, the trade-off for that warmth and saturation is the clarity and detail one can get with FET mics.

Note: Less expensive tube mics are often prone to being noisy due to the use of inexpensive tubes. Tubes deemed to be “musical,” can cost anywhere from around $100 to several thousands of dollars for a single tube.

Microphones are a very personal choice. What may sound great to one person may not be the first choice to another person. Even among the greatest producers and recording engineers in the business, there is going to be disagreement over what mic may be the best choice in any given situation.

Where vocals are concerned, the choice is even more personal because some microphones are better suited to some voices than others. Finding the microphone that best compliments your voice can be a bit of a hunt-and-peck adventure.

Your mic budget…

Mics can cost as little as $50 and can well surpass five-figures on the high end. No matter your budget, you’ll likely find something useful. But, like with so many other purchases we make, cheaping out on a quality microphone will often result in the cheap mic being replaced in the not-too-distant future. Many would argue that the microphone is the most important piece of gear in your recording system. This is not the best place to cheap out.

[jim1960]

The shootouts on these pages are offered not just for evaluative purposes but to also help identify what features and characteristics are available and may be advantageous or desirable to a particular buyer. These videos are not meant to limit the brands or models of microphones anyone should consider. There are many wonderful microphones not represented in these videos.

Note: To be included, a shootout must meet these criteria:

• 1. must contain three or more mics (unless created by an AGF member)
• 2. part of the shootout must include acoustic guitar, electric guitar, or vocals
• 3. the shootout must be well done and not simply a sales pitch disguised as a shootout

This seems a good jumping in point. Even though the price of any one of these vintage microphones is well into five figures today, these four mics are among the most sought after and most cloned. If sound of one of these mics speaks to you, one of the many imitators may be what you’re after.




This shootout is MASSIVE! …22 LDC microphones! The cost of the mics in this shootout range from a few hundred dollars to many thousands (the prices mentioned in the video are from 2016).




Here’s another huge LDC shootout. This one includes 14 mics. These range in price from $400 to $4000.




This is an 11 mic LDC shootout with mics ranging from $50 to $700.




This 9 LDC shootout features microphones that are all priced at less than $1000.




This LDC shootout contains 5 mid to higher end mics.




Microphones priced between $300 and $1000 are featured in this shootout.




This shootout focuses on affordable tube mics ranging from $400 to $1100.




This shootout includes mics from Advanced Audio, a U87ai, and a DIY mic assembled from parts bought on Microphone-Parts.com.




This shootout pits 3 tube mics against a vintage Neumann U67. These mics are priced from $2700 to $3900.




In the world of microphones, there may be no name more iconic than Neumann. The next two shootouts pit Neumann against Neumann…
1. U87ai vs TLM 67 vs TLM 102


2. This shootout features 11 Neumann mics, including a vintage 47, 49, & 67!

[jim1960]

Among all the microphones ever made, no other has been more sought after than the Neumann U47. If there is a king among microphones, it’s the U47. This shootout includes 7 mics that either emulate or are clones of the U47.




This three mic shootout pits a Neumann U47 against a Flea 47 and a Telefunken 47 with a VF14 tube. The VF14 is one of the most expensive tubes on the market. Just a single low-noise NOS VF14 tube can cost over $3000.




The Neumann U87 is a staple in many professional studios. This two-part shootout features three affordable 87 emulations against a Neumann U87ai.




Telefunken is a name well-known among recording professionals. This two-part shootout features three mid-priced mics from Telefunken.




The Telefunken ELA M 251 (which was originally made by AKG) is another iconic and sought after microphone. This shootout features 6 emulations and clones as well as a modern Telefunken 251 and a 251 from the early 2000s.




Audio-Technica is a well-known microphone manufacturer. This shootout compares 4 lower-priced offerings from AT.




A relative newcomer to the long list of microphone makers, Warm Audio has certainly garnered a following. This shootout compares 4 mics from Warm.

[jim1960]

Much thanks to Doug Young, fellow AGFer and longtime contributor to the Record sub-forum, for this very well done video.




This two-part review includes various LDC mics as well as software emulations.




This shootout contains a mix of high-end LDC and ribbon mics.




Another shootout containing LDC and ribbon mics, but this time the choices are more affordable.




This shootout contains 15 microphones of all three types: condenser, ribbon, and dynamic.




Another 15 mic shootout.




Here's a 12 mic shootout with a variety of all three types of mics.




This 9 mic vocal shootout feature both LDC and ribbon mics.




A mix of 8 mics of all types.




This shootout features five affordable mics being tested on guitar amps. Once again, all three types, condenser, ribbon, and dynamic, are included.




This shootout includes 4 mics including a vintage Altec 639A and an I/O Audio Max Kircher MK67 kit which allows you to swap guts with a U87ai or a TLM67.

[jim1960]

Small diaphragm condensers are sometimes preferred due to their fast transients and clarity. This shootout put a vintage Neumann KM84 up against the more modern KM184 and the Peluso P84.




This shootout has a whole bunch of small diaphraagm condensers and is worth watching just for the silly opening.




This shootout gives us samples of 7 SDC mics.




This 6-mic SDC shootout features some very popular options.

[jim1960]

Next up is a showdown of 9 dynamic mics being tested on guitar amps.




This shootout is also all dynamics. These 6 mics range from $100 to $400.




Up next, this shootout features 5 dynamic mics ranging from $100 to $450.

[jim1960]

If it’s ribbon mics you’re after, here’s a shootout featuring 12 of them. This mix of current production and vintage mics range in price from $150 to thousands.
This video cannot be linked so click here to view on YouTube.



Here’s another ribbon shootout. These 5 vintage mics $450-$1300 on the used market.




A four-mic shootout featuring the Royer 121, Mesanovic 2, AEA R84, and Coles 4038

[jim1960]

I added more shootouts yesterday and today. I think there's a pretty good selection now... or at least enough to help people find some direction. I'll continue to add useful shootouts as I come across them.

Also, if you hadn't noticed yet, I've changed the three-mic rule as it pertains to AGF members, so if you have a two-mic shootout you'd like to have included on these pages, feel free to send me a PM with the YouTube link.