On subsequent projects we used my Soundelux 251 that David custom-made for me on her voice.


Quote Originally Posted by 3daudioinc View Post
Here are some pictures from a session that I did just last week.

I will fill in details later.

This is the artist as we were running down the tunes. I tried the R84, which had a wonderful big creamy sound, and the C12 which sounded fine on her, but ultimately she wanted the mic that we discovered sounded great on her two albums ago-the Manley Gold. The sound of it on her voice makes her smile. In 16 albums to date, her voice on that mic is the favorite vocal sound she has ever gotten. And we spent some time finding that sound. Six mics, five different preamps. The Buzz MA-2 was the winner over a Martech and Focusrite 110. On most of the songs, it was Manley to Buzz to recorder. On the more dynamic songs, I used a Distressor for some level taming.

For these sessions, which were acoustic piano, acoustic guitar (steel and nylon) and cello only, I went for a big "chocolatey" piano sound-the kind that would wrap around you and envelope you without sounding so upfront and in your face. "Like buttah" was how the artist wanted it to sound. The M49s were the ticket there. I placed them so there would be separation in the stereo field but I didn't want it sounding like you had your head in the piano with the low strings to the left and high to the right. These ran through the Neve preamps. You'll notice that I had 414s in a typical miking configuration in case I needed that sound, but I never used them. They were run through a Summit Dual Tube pre and sounded good but just not right for this project.

On guitar, I used a C24 in an M-S configuration through the Great River MP-2NV and it sounded amazing. I also put up some outrigger mics for a wider image if needed. The KM-84 (left) and 4033 (right) were run through the Neve as well and I got a great sound actually using all three mics. For the natural, "sitting down listening" sound, the C24 was amazing. When the arrangement got more full, I dialed in the outside mics to add more definition and width. I printed each mic to a separate track and will make those decisions at mixdown. I was very happy with the sound.

David Cleveland is the player, who you may recognize from the first Pre CD. On these sessions he played four different McPherson guitars.

For cello, I tried out a variety of mics. The ones that aren't in the picture are my R84, which responded unfavorably to some unfortunate combination of cello/room resonances, and the 4040, which didn't capture the body of the instrument. The mic that I went with was the Coles 4038 (left) and it sounded wonderful. It went through my Focusrite ISA 110. The other mic, a U87, went through the console and had a more forward sound. On a few songs that were solo cello, I actually placed it a few feet away from the Coles and used them in stereo to great effect. The 87 ran through the console.

[ December 17, 2003: Message edited by: 3D Audio Inc. ]