Page 2 of 4 FirstFirst 1234 LastLast
Results 11 to 20 of 34

Thread: What I did on my summer vacation: Sax Mic Shootout

  1. #11
    Wireline's Avatar
    Wireline is offline 3D VIP 2004, '05, '06, '08, '09, '10
    Join Date
    May 2002
    Location
    Midland Tx
    Posts
    11,363

    Default

    Quote Originally Posted by 3daudioinc View Post
    Here's what I did today.
    Where, and who's mic locker?

    (If I may be as childishly bold to ask)
    Ken Morgan
    2010 3d VIP

  2. #12
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    Quote Originally Posted by Mike Derrick View Post
    You know there's one other test I'd like to see done alongside of the kind of test you just did. Since some people argue that position and performance are factors which invalidate such a test...
    There is a laundry list of things which invalidate tests like this. It's huge.

    What validates it is a player who is looking for a sound and a mic/pre combo that gets him that sound. This was for one person to decide what he liked best. If someone else can glean useful information from it, then I'm fine with that.

    My revelation for the day? The mouthpiece is far more significant than any mic or preamp could ever hope to be. We actually did a mouthpiece shootout while we were at it. Along with various mic positions on the horn. Along with another horn (Alto).

    It was fun and I learned a lot.

    "The sound is 75% mic, 23% preamp and 2% converters." That's what I told the sax player going in and thought he should evaluate his purchases based on that. In his final evaluation, I think he would lean toward 85% mic as he had much more difficulty distinguishing preferences between preamps.

    Given the volume of the horn, the proximity to the mics, the reflections from the room, I think the various positioning of the mics was nearly immaterial. I never noticed it as a factor. And, as someone who has done a shootout of 49 mics in this same room with each mic in precisely the same position, I would notice and admit it if I thought it was a factor.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  3. #13
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    Quote Originally Posted by sunflute View Post
    Cool,

    I can contribute a Studio Vocalist, A Proscenium and the Naked Eye Roswellite.

    All of these work great on flute.

    Peace.
    We listened to five ribbons. Of those, the R84 was my preference. Paired with the AEA RPQ, it was really amazing. Surprisingly so.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  4. #14
    Join Date
    Oct 2005
    Location
    NYC
    Posts
    91

    Default

    Quote Originally Posted by 3daudioinc View Post
    We listened to five ribbons. Of those, the R84 was my preference. Paired with the AEA RPQ, it was really amazing. Surprisingly so.
    I've tried the R84 and it is great but I compared it to the Proscenium and preferred the Proscenium. Since I got the Forssell SMP-2 and the MADC-2 I like it even more. I think for flute the preamp is as important as the mic itself.

    Peace

  5. #15
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    Quote Originally Posted by Wireline View Post
    Where, and who's mic locker?

    (If I may be as childishly bold to ask)
    This was at Classic, the same location as the Pre, Mic, ADCD and other shootouts.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  6. #16
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    I just got an email from Frank Wells, editor of ProSound News and long time friend, who cracked me up with this comment after seeing the pictures above.

    I think we need to make Fuston a verb for over-the-top yet fun and informative gear evaluations. i.e.: “We weren’t sure what mic to put on sax, so we fustonized the mic locker.”
    I thought that was funny.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  7. #17
    Join Date
    Oct 2005
    Location
    NYC
    Posts
    91

    Default

    Any pictures of the, should I say..... "Fuston-out" on flute?

  8. #18
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    Quote Originally Posted by sunflute View Post
    Any pictures of the, should I say..... "Fuston-out" on flute?
    No. It was a matter of pulling a few out of the sax lineup and then adding a few more and then choosing how many we could do in the time we had remaining. Ended up listening to 8. I'll post a list soon.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  9. #19
    Join Date
    Jun 2009
    Location
    NYC
    Posts
    190

    Default

    Lynn-

    Did you say which one the you and the sax player settled on? Or favorites?

    thanks,

    Matt

  10. #20
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246

    Default

    Quote Originally Posted by Matthew Voss View Post
    Lynn-

    Did you say which one the you and the sax player settled on? Or favorites?
    Not yet. I've been pondering this and I think this time, due to the circumstances, I will tell. Stay tuned.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

Page 2 of 4 FirstFirst 1234 LastLast

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •