Recently I had to record a Japanese taiko drum ensemble, but I got a fair bit of distortion even though my recording levels never reached 0dBFS. Why was I getting this distortion/compression?
I noticed in your review of the Lewitt LCT 1040 microphone that it has a switchable 120Hz 6dB/octave high‑pass filter, for countering the proximity effect. If my mic doesn’t have this feature, can I just set up the same thing in my DAW channel EQ?
I have a Tram TR50 lavalier mic with a very low output level. I was thinking about getting an inline gain booster for it, but someone told me that this kind of device was not appropriate for lav mics...
I record spoken‑word narration, close‑miked in a small room, with basic room treatment. While I have no noise‑floor problems, I’ve noticed that some of my mics have a lot less noise than others...
I purchased some small‑diaphragm electret condenser microphones from 12 Gauge Microphones and can only use them on my non‑transformer input mic preamps. Do you know of a way to make these mics work with my transformer input preamps?
I’ve seen stereo mic arrays that claim to capture 196 degrees of the sound stage. What’s the point if the speakers can only reproduce 60 degrees of the whole image?
Everyone loves classic microphones, but few of us can afford them! We survey the hundreds of modern recreations on the market, and explain what to look for when you’re choosing one for your studio.
I picked up a couple of (large-diaphragm) AKG C214s, and they sound much more natural. Though that solved my problem, I'm still curious: is there such a thing as a 'soft'-sounding small-diaphragm condenser?
What are your thoughts on recording stereo ambience on location (such as in a forest, supermarket, office, or restaurant) for use in movies, podcasts and so on?
I couldn't use the Neumann TLM103 as my 'kicksnare' mic, as it couldn't handle the sound level produced by the drummer. Even with zero gain at the preamp this mic produced a distorted signal. What was I doing wrong?