Recording - October 2015 - 25

Two of the absolute standouts in this arena are
from RĂ˜DE in Australia. The NT1-A ($230) has a
rich yet overall neutral sound and handles SPL up to
137 dB. Much newer and perhaps more remarkable (it still has to carve its niche) is the NT1 ($270),
an updated and quieter design. Both sound amazing on everything from vocals to guitar amps,
horns, acoustic guitars, and more, and each ships
with its own shockmount, cable, and pop filter.
Another good do-it-all model is the AKG
C214 ($400), a smaller cardioid-only version of
the workhorse C414. Audio-Technica's AT2020
($100) is exceptionally affordable and versatile.
Shure has a number of affordable mics in this
range, the SM27 ($300) being particularly noteworthy. Samson's MTR231 ($250) is a remarkable value; unlike the other mics we've mentioned in this price range, it offers a choice of
polar patterns: cardioid, omni, and figure-8. The
same is true of the well-established Audix
CX212B ($400). And if you want something really new with a nice vintage flavor, consider the
Roswell Pro Audio Mini K47 ($300).
Go deep: a kick mic ($200-$400)
As you begin recording bands or working with
more complex arrangements, you'll want to make
sure that your bassy instruments are being wellrepresented in the mix. Maybe you're looking for a
deeper resonance to the kick drum, or a bass
amp tone with more body and aggression.
Now it's time to look into getting a "kick mic."

A mic like this one brings focus to these frequencies.
It's not just that it captures all of that the lower bass, but
it tames and tightens it as well. The bass seems subsequently more usable and allows us to bring more of that
depth and dimension into our recordings. Every maker
tailors the response of this type of mic differently, so as to
pick up more or less beater snap vs. drum boom or pick
noise and harmonics vs. bass fundamental. There are
many flavors, and you'll want to find one that suits your
tastes.
The really famous mics in this realm are the AKG
D112 ($150 for the MkII version), Shure Beta 52A
($190), and the $170 Audix D4 (and its even more
powerful successor the $200 D6). These are all dynamic designs, and each has an upper-mid response that's
slightly different than that of the others; the D112, for example, has a
slight 4 kHz peak that sounds amazing on djembe and even tuba!
Go high: a pair of small-diaphragm
pencil condensers ($300-$3000)
We have two ears, so it makes sense
that being able to record in stereo has
great benefits in creating a realistic
soundstage. Even when we're not doing
a strict "stereo" mic array like spacedpair, XY, or ORTF, there's a big advantage to putting two mics on the same
source. Miking an acoustic guitar for
instance, can offer a "truer" perspective
in that the harmonics, overtones, and


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Table of Contents for the Digital Edition of Recording - October 2015

Contents
Recording - October 2015 - Intro
Recording - October 2015 - Cover1
Recording - October 2015 - Cover2
Recording - October 2015 - 1
Recording - October 2015 - 2
Recording - October 2015 - 3
Recording - October 2015 - 4
Recording - October 2015 - 5
Recording - October 2015 - Contents
Recording - October 2015 - 7
Recording - October 2015 - 8
Recording - October 2015 - 9
Recording - October 2015 - 10
Recording - October 2015 - 11
Recording - October 2015 - 12
Recording - October 2015 - 13
Recording - October 2015 - 14
Recording - October 2015 - 15
Recording - October 2015 - 16
Recording - October 2015 - 17
Recording - October 2015 - 18
Recording - October 2015 - 19
Recording - October 2015 - 20
Recording - October 2015 - 21
Recording - October 2015 - 22
Recording - October 2015 - 23
Recording - October 2015 - 24
Recording - October 2015 - 25
Recording - October 2015 - 26
Recording - October 2015 - 27
Recording - October 2015 - 28
Recording - October 2015 - 29
Recording - October 2015 - 30
Recording - October 2015 - 31
Recording - October 2015 - 32
Recording - October 2015 - 33
Recording - October 2015 - 34
Recording - October 2015 - 35
Recording - October 2015 - 36
Recording - October 2015 - 37
Recording - October 2015 - 38
Recording - October 2015 - 39
Recording - October 2015 - 40
Recording - October 2015 - 41
Recording - October 2015 - 42
Recording - October 2015 - 43
Recording - October 2015 - 44
Recording - October 2015 - 45
Recording - October 2015 - 46
Recording - October 2015 - 47
Recording - October 2015 - 48
Recording - October 2015 - 49
Recording - October 2015 - 50
Recording - October 2015 - 51
Recording - October 2015 - 52
Recording - October 2015 - 53
Recording - October 2015 - 54
Recording - October 2015 - 55
Recording - October 2015 - 56
Recording - October 2015 - 57
Recording - October 2015 - 58
Recording - October 2015 - 59
Recording - October 2015 - 60
Recording - October 2015 - 61
Recording - October 2015 - 62
Recording - October 2015 - 63
Recording - October 2015 - 64
Recording - October 2015 - 65
Recording - October 2015 - 66
Recording - October 2015 - 67
Recording - October 2015 - 68
Recording - October 2015 - 69
Recording - October 2015 - 70
Recording - October 2015 - 71
Recording - October 2015 - 72
Recording - October 2015 - 73
Recording - October 2015 - 74
Recording - October 2015 - 75
Recording - October 2015 - 76
Recording - October 2015 - 77
Recording - October 2015 - 78
Recording - October 2015 - 79
Recording - October 2015 - 80
Recording - October 2015 - Cover3
Recording - October 2015 - Cover4
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