Recording - June 2019 - 20
Eric Loomis
at
What condenser mics top
you like to use to take advantage of the live sound
of the space?
That's another thing I like about
super-clean gear like DPA mics. They are
brutally honest, and it pushes my workflow
to be more concerned with the sound of
my source before it hits the microphone,
and that makes me a better engineer.
What are your preferred
mics when tracking vocals?
Going back to drums, let's
say you have DPA 4099s on
the snare and toms; what
do you marry that with for
overheads or kick drum?
We have a pair of C12 capsule AKG
414's or Upton 251's that I like to use for that.
what they do. At one event we recorded a
jazz trio and had all 32 inputs of our Burl
converters filled up with just DPA mics.
What is it that you like
about DPA so much?
I know the price tag scares some people off-and don't get me wrong, I love
all the vintage stuff too-but for me, DPA
is all about the clean yet musical capture.
The best explanation I can give is using
a them on a drum kit. DPA mics don't have
off-axis coloration, so if you put a d:vote
4099 on a snare drum and on toms, your
bleed is not 'bad', it's just bleed. The way
your snare sounds from the direct mic is
the same tone you get from the bleed of
the snare in the rack tom mic. Essentially
it's the same color from every angle. So instead of using a plug-in to get rid of bleed
and put a bandage on the process, if you
use DPA, in my opinion you shouldn't
have a bleed problem.
I like that with DPA you
get the color from the kit
or the source, not the microphones.
Exactly. Using DPA mics on a drum kit,
you can mute and solo different microphones and the color does not change.
In this same issue, we are
reviewing the new DPA
d:fine 6066 and it's similar.
The sound you get from the
person speaking sounds
just like they do when they
are standing next to you.
I occasionally do corporate audio,
and I know exactly what you mean.
From all my years of live sound and
recording, I like to use the DPA d:facto
handheld condenser microphone. It uses
their 4018VL capsule, and I have put that
up against every other large-diaphragm
condenser I have and it holds its own.
I reviewed that mic and really liked it.
It's insanely good. The thing is that there
are all these nuances and subtitles between
various large-diaphragm condenser mics...
people will talk about them for days on end
and they all sound different, but this one
mic is a great starting point and covers a
lot of ground, both live and in the studio.
That's the thing about starting with
good clean mics. They teach you to be
a better engineer.
How so?
I often use a pair of DPA 2011 twindiaphragm cardioid mics in XY for overheads. I prefer them in front of the kit a
bit more than over the kit, as I think it
sounds bit more natural.
For kick drum, it depends. My favorite
is a Heil PR40 because it's quite linear
and gives you the sound of the drum vs.
some overly tailored kick mics that make
every drum sound the same. That's for
kick in; for the outer kick, I am a really big fan of the Bock iFet 47, which is
their FET 47 offering, sometimes that's
the only one I need.
Great mic!
Great vocal mic, great on kick. Honestly
if there was a large-diaphragm workhorse
Take drums, for instance. If you start
with good clean drum mics, guess what
you're going to learn? Not that those
mics are the right or wrong mics for your
drum kit. You're going to learn that your
drum kit sounds like crap-or maybe that
it sounds really good. You're going to
learn how to tune a snare and what type
of heads to put on it, and whether the
room you are recording drums in sounds
good or not. You're going to learn about
recording instead of getting caught up
in having the right chain. It's easy to get
caught up in "but I need this or that preamp to record drums"-no you don't.
IVY HALL Vocal Booth Photo by: Jarad Clement
What mics do you like to
use on guitar cabs in the
amp room?
Obviously the Shure SM57/Royer
R-121 is a classic combo. I also do an
Andrew Scheps trick that's an SM57
and a Sennheiser MD 421 to give a
very midrange-forward heavy rock
sound. Then I also like using an old
Electro-Voice EV 635a omni that does
not get the proximity effect.
20 RECORDING June 2019
IVY HALL Control Room Photo by: Jarad Clement
Recording - June 2019
Table of Contents for the Digital Edition of Recording - June 2019
Fade In
Fast Forward
Focal Trio11 Be
Eric Loomis—From live sound to Ivy Hall
Test Tones & Metering
Handy Hardware
Cool Controllers
Stellar Soundware
First Look: KRK Systems ROKIT 5 G4
Vance Powell on mixing The Raconteurs' Help Us Stranger
Steinberg Cubase 10
Plug-In Outlet: Puremagnetik Plug-ins
Lynx Studio Technology Aurora(n)
Studio 101. Part 17: Studio controllers
Readers’ Tracks
Fade Out
Recording - June 2019 - Intro
Recording - June 2019 - Cover1
Recording - June 2019 - Cover2
Recording - June 2019 - 1
Recording - June 2019 - 2
Recording - June 2019 - 3
Recording - June 2019 - Fade In
Recording - June 2019 - 5
Recording - June 2019 - 6
Recording - June 2019 - 7
Recording - June 2019 - Fast Forward
Recording - June 2019 - 9
Recording - June 2019 - 10
Recording - June 2019 - 11
Recording - June 2019 - Focal Trio11 Be
Recording - June 2019 - 13
Recording - June 2019 - 14
Recording - June 2019 - 15
Recording - June 2019 - Eric Loomis—From live sound to Ivy Hall
Recording - June 2019 - 17
Recording - June 2019 - 18
Recording - June 2019 - 19
Recording - June 2019 - 20
Recording - June 2019 - 21
Recording - June 2019 - 22
Recording - June 2019 - 23
Recording - June 2019 - Test Tones & Metering
Recording - June 2019 - 25
Recording - June 2019 - 26
Recording - June 2019 - 27
Recording - June 2019 - Handy Hardware
Recording - June 2019 - 29
Recording - June 2019 - 30
Recording - June 2019 - 31
Recording - June 2019 - 32
Recording - June 2019 - 33
Recording - June 2019 - Cool Controllers
Recording - June 2019 - 35
Recording - June 2019 - 36
Recording - June 2019 - 37
Recording - June 2019 - 38
Recording - June 2019 - 39
Recording - June 2019 - Stellar Soundware
Recording - June 2019 - 41
Recording - June 2019 - 42
Recording - June 2019 - 43
Recording - June 2019 - 44
Recording - June 2019 - 45
Recording - June 2019 - First Look: KRK Systems ROKIT 5 G4
Recording - June 2019 - 47
Recording - June 2019 - Vance Powell on mixing The Raconteurs' Help Us Stranger
Recording - June 2019 - 49
Recording - June 2019 - 50
Recording - June 2019 - 51
Recording - June 2019 - 52
Recording - June 2019 - 53
Recording - June 2019 - 54
Recording - June 2019 - 55
Recording - June 2019 - 56
Recording - June 2019 - 57
Recording - June 2019 - Steinberg Cubase 10
Recording - June 2019 - 59
Recording - June 2019 - Plug-In Outlet: Puremagnetik Plug-ins
Recording - June 2019 - 61
Recording - June 2019 - Lynx Studio Technology Aurora(n)
Recording - June 2019 - 63
Recording - June 2019 - Studio 101. Part 17: Studio controllers
Recording - June 2019 - 65
Recording - June 2019 - Readers’ Tracks
Recording - June 2019 - 67
Recording - June 2019 - 68
Recording - June 2019 - 69
Recording - June 2019 - 70
Recording - June 2019 - 71
Recording - June 2019 - Fade Out
Recording - June 2019 - Cover3
Recording - June 2019 - Cover4
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