maxim wrote on Thu, 20 July 2006 03:36

terry wrote:

“other mic/pre combo …in conjunction with a U-47 through an old Neve”

two mics on vocal: common technique?

just summed in the mix, or filtered first?

Not a common technique with me. I generally prefer ONE MIC on most any source, especially vocals.

However, I was trying out the SAGE Bova Ball Mic, and recording in another studio than mine (although one in which I’ve worked a lot before), so I wanted to “be sure,” just in case I did not like the Ball on vox. Also, I wanted Cat (first time working with her) to feel as normal and comfortable as possible. And staring at a Bova Ball is not really normal!

So I put up the 47 in the normal way, and placed the Ball as adjacent as possible.

The 47 went through the old Neve console’s 1073-based pre, and the Ball through the Sage.

Each mic was tracked separately.

Once in mixing, I just found that my favourite vocal sound for the song was the two mic’s mixed together. Neither one was as good independently as the two mixed.

For me, that is a rare occurrence.

I attribute it partly to the excellent quality added by the Ball, and also to the fact that its omni pattern added good ambience, rather than phase problems and cancellation.

I have found this several times recently, on things such as amp’d guitar overdubs, or percussion overdubs. Using an LDC cardiod in conjunction with an sdc omni can work a lot better than two cardiods.

Also, on the SAGE support front, I had one supply blowing fuses, and Janet and Phil spared no effort or expense to make it right, immediately. They are great folks to work with.

Really liking the mic pre.

Terry Manning of Compass Point Studios, then Nassau, Bahamas


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