Posts Tagged ‘r88’

I haven’t done a “mixing tip” post in a while and I was working on some drums today and thought I’d share a little technique that I started using recently.

Many of you many not be in an ideal space to record drums; or, like me, you have a great room, but it just isn’t as “big” as you’d like it to be.

I’ve gone through TONS of positions in the room from mic’ing on the floor, to mic’ing up high, to pointing mics at the windows for reflections…..so many different methods.  And I’ve also tried so many different MICS.  My favorite for drum room by far is the AEA R88 stereo ribbon, hands down.  AMAZING mic.

But the mic alone won’t give you that magic “large room” sound.  You have to compress the crap out of it!  1176, Distressor, API 527, I’ve tried many different ways, but it still ends up sounding like a smashed small room.

A number of months ago I was working on an audio for video project and the voiceover was done in a less than ideal space. There was WAY too much roominess for a VO. I remembered the new Dereverb tool in Izotope’s bundle and tried it out.  It works pretty well… Not mind blowing, but used in moderation it helps a little bit. It’s a good tool for those doing audio post and film work. But while playing with the settings, I found out you can go the OPPOSITE way and actually make the room sound MORE prominent! Immediately I had to try it on drum room mics…..and sure enough, it worked wonders.

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The Dereverb tool is essentially a glorified multiband compressor where the only thing you can really change is the threshold and the release.  While on some compressors you can do expansion/upward compression (like Wave’s RComp) on Dereverb you can also overly compress the tails and bring up the room sound.

I find it to sound more natural than compression….more like a bigger space.  With the right compressor, I’m sure you can get there, but you really have to spend some time dialing in the right settings.  You can get a little bit of crunchy artifacts going if you dial too much in, but for most drum room sounds, I’m usually ADDING distortion anyway to be more aggressive/in your face, so I don’t mind this at all.

A couple of things to be mindful of:
– It’s best to dial back the High end because it can get quite crispy on cymbals
– You HAVE to render/process and not leave the plugin on (TONS of latency)

I’ve attached a link with samples below. You will find 3 files.

1. “Room – NO processing” – this is the completely dry signal as recorded
2. “Room – EQ Decap” – this is PRE Dereverb but with my EQ and Decapitator applied
3. “Room – DeReverbed” – this is after all processing including DeReverb

Download DeReverb Samples Here!

Enjoy!

 

I’m back!    ….finally!

Between nothing really piquing my interest in the audio world and my newborn son being in the hospital for a few weeks, I’ve been neglecting the ol’ audio blog.

BUT , I’ve been REALLY excited to post about our newest purchase over at SmithLee….the AEA R88 stereo ribbon microphone!  *trumpet fanfare*
A few months back,  Travis Atkinson of AEA held a mic demo at SmithLee (arranged by Gary Copeland of South-Fi).  It was attended by a group of our engineer friends around St. Louis.  Travis brought the entire AEA mic family along with some preampes including the new RPQ 500. We had tons of fun micing drums, piano, bass, and vocals with nothing but AEA ribbons, most of which were on AEA preamps.  Theodore Brookins, Grover Stewart Jr., and Jesse James Gannon are the amazing musicians who helped us out.  Those guys are a phenomenal talent.

As soon as we mic’d up the piano with the R88, I knew it had to be mine.  It’s like that scene in Wayne’s World where he drives by the Fender Strat in the music store.

“She will be mine….oh yes….she WILL be mine.”

Now, I’ve mic’d our Steinway M at SmithLee COUNTLESS times.  I’ve tried every combination of microphone and position one could think of, but I’ve NEVER heard our piano sound this great until the R88 came along.  I played the recordings for David Smith (owner of SmithLee) who has owned the piano for well over 30 years.  He said it sounded like a new instrument – and he knows that piano better than anyone.  It finally came to life.  It was clear and present without that harsh 5-7kHz area that can sometimes sound too tingey on a piano.  And the phase….OH THE PHASE!  It was aligned!   (without having to spend half and hour moving mics back and forth).  The best position I’ve found so far is from Stav’s book Mixing With Your Mind.  He suggests an LDC M/S setup right around the curve of the piano.  This technique was  a ear opener for me.  But the R88 blew that setup out of the water.  We didn’t track with any compression or EQ and it sounded like a piano should.  This mic doesn’t quite suffer from the usual need for a little extra top like most ribbons do.

Now, I must preface all of this by saying we did run the R88 through the AEA RPQ500 preamp which has a MUCH higher impedance and gain than most other pres.  According to Wes Dooley, these mics really like having that big impedance and gain boost to clear up and get above the noise.  Days after that session was over, I mic’d the piano again with the R88 running through our Amek 9098 preamp.   It was still amazing, but I could tell right away that the R88 paired with the RPQ500 is a match made in heaven.  If you’re going to spend $1,800 on this mic, I would highly suggest putting out a little more and buying the preamp to go with it.  Trust me, you won’t be disappointed.  I’m not going to go through all of the features of the preamp here, and why you should buy it because, let’s face it, you DO have the internet.  But to be helpful, here’s the link.

http://www.ribbonmics.com/aea/RPQ500.html

Next, we switched the R88 over to drum overhead duty.  Holy. Cow.  Again, phenomenal tone!  Instantly a round, classic sound.  We had no phase issues from placing mics as a spaced pair, and the cymbals didn’t rip your face off.  The toms had a beefy presence to them while keeping a nice balance in the kit overall.  Granted, having Grover as a drummer made this easy!  Now, I will say that this mic may not work for every application.  I probably wouldn’t chose it if I were recording metal, and maybe not even hard rock.  Like I said, it’s a “classic” sound….round, well balanced, not too hyped, and smooth……veeeery smooth.

At a later date I use the R88 in M/S mode for a room mic about 8 feet out from the kit, level with the toms. I hate to sound like a broken record, but again….knocked out the park.  I’ve never heard our room sound so good before!  The room just sounded bigger and more open.  I could hear the nuances and reflections that I just couldn’t get with many of the condensers that I had been using.   I was having a discussion with Travis about a client of his ONLY wanting to use the R88 as a room mic and nothing more.  I couldn’t understand why on earth someone would possibly take such a great mic and use it for just one thing.  After setting this mic up in the room, I now understand why.  NOTHING in our mic cabinet is a better room mic.  Period.  I wish I had 2 of these!

At this point, I’m going to have to do a supplemental post after I’ve recorded a few different instruments with this mic.   I can’t wait to record some guitar or horns with this thing.  I’ve been out of the studio for a few weeks with my son being in the hospital and haven’t had the chance yet.  But I’m sure I won’t be disappointed.  HUGE props to Wes Dooley on this one.  This mic is nothing short of stellar.  ALL of the AEA stuff is!   We tested out the R44, A840, R84, and R92.  I was completely impressed with the lot, and so were the other engineers that attended the session.  In fact, after the mic demo, 4 mics and 3 preamps were sold that week by engineers who attended.  I think that’s a huge testament to the sound quality of Wes’s products.  I’m sure everyone there would have bought one if money weren’t an issue.

I will post audio samples as soon as I get out of the hospital where I’m currently writing this.  In the mean time, have some pictures!

UPDATE

I finally got around to grabbing some samples of this and posting them.  So, here you go!  Download and take a listen to the R88.
R88 Samples

They are all 320k mp3 to keep the file size down.  I know…lame.  All of the files have NO EQ/Comp or ANY processing.
What we’ve got is the following:

1. Band – Full Band With R88 on Piano.mp3 – Recording from the AEA mic demo I talked about above.  Full band is playing with the R88 featured on the piano.

2. Band – R88 on Piano Solo.mp3 – Same recording as #1 but with the Piano Solo’d.

3. My Horrible Drumming – R88 MS Room Mic.mp3 – Let’s get one thing straight….I’m not a drummer.  This is me playing drums to see how the R88 sounded as a room mic.  So this is the R88 in M/S mode in the middle of the room.

4. R88 on OH.mp3 – Again, from the AEA mic demo, but this time the R88 is used as an Overhead on the kit.

5. R88 on Piano Classical.mp3 – Totally separate recording.  R88 on the piano.  I know, the piano needs to be tuned!