Recording - December 2011 - 6

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Input is everything
I loved Paul Vnuk’s review of IK Multimedia AmpliTube 3.5 (July 2011). One thing I didn’t see mentioned which is of huge importance: how did he get the guitar signal into the computer? If it was a DI Box, which one? I’m looking to purchase AmpliTube to use with my Fender Strat and want a good DI Box (or other device) that won’t kill the high frequencies. Love the mag,
Mark Alton via email

Paul J. Stamler replies:
Hi Greg, and thanks for the good words! Yes, I do think the TLM 102 offers good possibilities; I reviewed it for Recording some time ago and was very impressed with what it did, both on instruments and voices. With the caveat that no microphone is right for every voice, the TLM102’s sound is so good that I would expect it to have a high batting average indeed. That having been said, you can’t rule out the Baby Bottle or any other Blue mic (or any mic, for that matter) until you try it for yourself; you may find it quite to your tastes for certain vocalists. That’s why they call it the Art of Recording; we use our ears to fill in the gaps the technical specs and others’ recommendations leave behind. Peace—PJS

Paul Vnuk Jr. replies:
Hey Mark: When reviewing AmpliTube 3.5 my partner Chris Short and I used the software with three different devices: the Mackie Onyx 400F, the MOTU Traveler MkI, and the Lynx Aurora converter fed by a Chandler Limited TG-2 Mic preamp’s instrument DI input. In the case of the Mackie and the MOTU, both of these are FireWire audio interfaces that offer specific Hi-Z guitar input options, so the process is quite quick and simple. If you’re working in a larger setup that has mic preamps and a larger interface and/or a console rather than an all-in-one interface, then you’ll have to make sure that your input stage has the appropriate impedance to play well with your Strat. A lot of mic preamps have built-in Hi-Z instrument inputs, my Chandler being just one example; many of the makers tweak the Hi-Z inputs to have a particular sound of their own, and you will have to determine for yourself whether it blends well with the sound of AmpliTube. If your mic preamp doesn’t have a dedicated Hi-Z input, you’ll need to put a DI box before the mic pre’s input; there are many great options, but I have a personal taste for the many guitarinput products made by Radial Engineering, the JDI passive DI and its many siblings and descendants. Good luck—PV

Mod madness
Dear Scott Dorsey: I read with interest—and agreement—your October column on modifications (Fade Out, October 2011). In my real world, I use Schoeps, Neumann, DPA and Sennheiser MKH 800, but am not immune to the bottom-feeding/modification bug, myself. You might be amused, first by modifications in my past, and then by one that I am currently pondering. I’ve had a set of Oktava MK-012s for some time, and have become persuaded that the electronics are sub-par (noisy, inconsistent from one to another), while I believe the capsules—particularly the omni—to be rather good. Then I came across the MCA SP1 in a blister pack for something like $28.00. Horrible capsule, but surprisingly good electronics (apparently a Schoeps knockoff, even—I believe—with 60-volt capsule polarization). So, I engaged a willing local engineer to fit the Oktava capsule to the MCA electronics, and the result is disturbingly close to a Neumann KM 130 in overall behaviour. If you have any interest in playing with the pair, say the word and I’ll send them along. Which brings me to my latest mad idea... I recently picked up a Nady SP2090 stereo mic ($119, plus $15 for the shock mount). It’s not terrible, but the capsules are what one might expect. However! What if one were to remove the capsules, replacing them with one decent double-sided large plate capsule—say, a decent KK89 knockoff, assuming I can find one—would such a Frankenmic then not be something rather like a Sennheiser MKH800 Twin clone? I just might give this a try. Best to you,
Phil Davis Cape Ann Recording Essex, MA

Lift every vocal mic
Dear Paul Stamler: I subscribe to Recording, and I wanted to tell you how much I enjoyed your article “Lift Every Voice” in the May 2011 issue. I really got a lot out of it. I’m a musician first, but I’ve put together a decent basement studio over the years, much more in tune with production than engineering or the technical side of things. While I do try to trust my ears, I find value in trusting people, like yourself, who know what they are talking about, and it’s led me to what I think have been good purchasing decisions (i.e., RØDE NTK and NT1a, Audio-Technica AT4050, Audix D6, Heil PR30 and PR40, Shure SM81 and SM57). Here’s my question, if you have a moment and don’t mind? I love the NTK and 4050 on vocals, not so crazy about the NT1a (although it does well on some female voices). Do you think the Neumann TLM102 would be a good ‘next’ vocal mic? I listened to it today at my local music-gear store, and I can hear a difference in its sound, but do you think it would be a good choice based on what I already have? The salespeople I spoke to are big fans of Blue mics (which I know you have also reviewed a lot of), particularly the Baby Bottle, but unfortunately they didn’t have one in. I saw your email at the end of the article, and figured, “Why not ask?” Again, thanks for the great writing.
Greg Thurman Columbus, OH

Scott Dorsey replies:
Phil: Nothing wrong with trying out new ideas, and if you end up with a very musical mic, so much the better. But I recommend you read up on the MKH800 Twin; it’s a very unusual mic inside and not at all what you seem to think. Have fun—SD

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RECORDING DECEMBER 2011

Recording - December 2011

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