The Red Bladder wrote:
Whilst we are talking about 'the wrong microphone' - I use the wrong microphones all the time!
The idea that there is a 'right' way to record anything is hooey! A great vocal mic in the studio? Try an MKH416 - seriously!
No, not the old silver one, the new one. It's great and does not colour off-axis sounds the way the silver ones did. In fact, you can use it on just about anything, but even at a one-meter distance, it's great! One of the unsung heroes of the mic-locker!
We have a giant piano that sounds huge all the time. I suppose if you are recording Tchaikovsky's piano-C in B-flat-minor, let the damn thing rip! But if you want that sharper, thinner Steinway sound, a pair of TLM103s do the job perfectly
. In fact, the 103 is one of the great mics for all sorts of things, but many people hate them because they pick up a great deal of room noise and many people have lousy rooms!
Older dynamics are often unusual and useful - the SM59 has almost no handling noise and actually is my go-to for hi-hat.
It was a reporter's mic but it's great for all kinds of stuff. You don't believe me? Go to precisely 2:08 on this video and see it in action on the hi-hat! https://www.youtube.com/watch?v=dmd4Se9 ... 6v&index=1
" target="phpbbpopup (Our studio BTW)
Can't get any good MD421s? The AKG D202
or 222 are as good, if not better. The dual capsule thing makes them excellent for any percussion jobs. Just great all-round dynamic mics. Horns, vocals, whatever!A couple of DPA 4061s
give you not only first-class lapel mics but they come with rubber mounts that convert them into one of the best PZMs around - ideal for those esoteric Kunstkopf stereo recording you always wanted to make! Get that Styrofoam head built and off you go!
But now comes one of my fav. 'wrong' mics - good mics cost money - right? I mean, even them D202s cost about £200+ nowadays as people wise-up to how good they are! And good ribbon mics cost a fortune - as in hundreds, even for the cheaper stuff. If you are going to record a bass fiddle (in ANY situation!) or even a solo cello, take a Thomann t-Bone RB500 with you.
They cost £72 and give you that profound bass sound that all the magic Neumanns and all that other stuff never can. Put that sucker over the f-hole (No, not that one! The one on the fiddle!) and mic the body with whatever takes your fancy and people will applaud your engineering skills! "What a smooth and full bass sound!" they'll say!
But my best and possibly the ultimate 'wrong' mic isn't a mic at all! It's the driver out of a long-since demolished cheap sub-woofer
. It's better than that goofy Yamaha thing that costs real money. Clamped to a stand and with an Audix D6 inside the kick and to one side and THAT is the sound of a good thumping kick drum.
BTW - I use the Bruce Swedien method of recording kick - empty the damn thing and take all that crap out that drummers think they have to shove in there - pillows, blankets, a dead cat, whatever. Take the resonance skin off completely and replace it with an empty hoop to stop the fittings from rattling. Cover the outside hoop with a duvet and if the drum is one of those cheapo Chinese jobs, put a cellar-block inside to stiffen it up and stop it from wandering.