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Post by guitfiddler on Jul 4, 2015 11:44:21 GMT -6
I was doing some research on the SE Electronics mics, I have never used them, but just recently had to know how they sound. I have read that a lot of famous people use them and I got a little more interested just to hear them. I have only heard the Voodoo VR1 Passive Ribbon in their lineup. It is moderately priced and sounds very good on guitar cab. I have a Peluso R-14 Ribbon that I am putting to the test as soon as this sweet looking Voodoo ribbon arrives.
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Post by guitfiddler on Jul 8, 2015 16:29:12 GMT -6
I am still waiting for it to ship...
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Post by guitfiddler on Jul 28, 2015 17:17:48 GMT -6
Ok, I received it finally, and I sent it back and never got to demo it. Some day I will get it again to try out, but right now things just didn't happen as expected. I received a U87 from a friend and I decided getting a U87 was the better deal. Now, the sound of the Voodoo VR-1 will haunt me until I try it!
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Post by swurveman on Jul 28, 2015 17:47:10 GMT -6
I remember a bunch of posts on the purple site about why it was a bad idea to use their vocal mic filter. Can't say I understand or remember the theory. If in fact there are reasons why not to have a foam absorber right behind your guitar mic(s), I'd like to hear it. And I'm talking about people who put their mics on the grille or an inch or two away from the speakers, not guys who deliberately want the room sound and are miking a foot away. It does make sense for reducing the room sound you get from a figure 8 ribbon.
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Post by Ward on Jul 28, 2015 20:25:12 GMT -6
I remember a bunch of posts on the purple site about why it was a bad idea to use their vocal mic filter. Can't say I understand or remember the theory. If in fact there are reasons why not to have a foam absorber right behind your guitar mic(s), I'd like to hear it. And I'm talking about people who put their mics on the grille or an inch or two away from the speakers, not guys who deliberately want the room sound and are miking a foot away. It does make sense for reducing the room sound you get from a figure 8 ribbon. There is one consideration I can think of... proximity effect. Ribbon mics in particular, but all microphones in figure of 8 pattern have a very much increased proximity effect in comparison to omni and even cardioid patterns. Adding the foam behind any microphone will increase proximity effect and boost bass/low-mud response to a large degree and with a ribbon? To an artificial level, to the point where the resulting capture might prove unusable. This is what I experienced using one of those things with RCA and Royer ribbon microphones on guitar cabinets and even on the RCA44 for dobro... WAY too much low-end/low-mud. |
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Post by swurveman on Jul 29, 2015 7:39:50 GMT -6
I remember a bunch of posts on the purple site about why it was a bad idea to use their vocal mic filter. Can't say I understand or remember the theory. If in fact there are reasons why not to have a foam absorber right behind your guitar mic(s), I'd like to hear it. And I'm talking about people who put their mics on the grille or an inch or two away from the speakers, not guys who deliberately want the room sound and are miking a foot away. It does make sense for reducing the room sound you get from a figure 8 ribbon. There is one consideration I can think of... proximity effect. Ribbon mics in particular, but all microphones in figure of 8 pattern have a very much increased proximity effect in comparison to omni and even cardioid patterns. Adding the foam behind any microphone will increase proximity effect and boost bass/low-mud response to a large degree and with a ribbon? To an artificial level, to the point where the resulting capture might prove unusable. This is what I experienced using one of those things with RCA and Royer ribbon microphones on guitar cabinets and even on the RCA44 for dobro... WAY too much low-end/low-mud. Interesting Ward. I have come foam that I can rig up to sit behind my R121. So, I'll check it out and see how much mud there is vs. the benefit (to me) of sometimes not wanting the room in my R121. Thanks! |
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Post by Ward on Jul 29, 2015 9:06:09 GMT -6
There is one consideration I can think of... proximity effect. Ribbon mics in particular, but all microphones in figure of 8 pattern have a very much increased proximity effect in comparison to omni and even cardioid patterns. Adding the foam behind any microphone will increase proximity effect and boost bass/low-mud response to a large degree and with a ribbon? To an artificial level, to the point where the resulting capture might prove unusable. This is what I experienced using one of those things with RCA and Royer ribbon microphones on guitar cabinets and even on the RCA44 for dobro... WAY too much low-end/low-mud. Interesting Ward. I have come foam that I can rig up to sit behind my R121. So, I'll check it out and see how much mud there is vs. the benefit (to me) of sometimes not wanting the room in my R121. Thanks! There's a better way, swurveman!! You have any sleeping bags or duvets lying around? Build baffles about 8' from your microphone. Us mic stands down at their lowest levels and toss sleeping bags, duvets, comforters over them. Like building a cloud!! And lay the amp on carpet, and the micstand too. You will eliminate virtually all room tone without creating an anechoic chamber or increasing proximity mud. Create a circle around the amplifier with the mic stands and draped over blanketing. You'll be surprised at how well this will work. |
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Post by swurveman on Jul 29, 2015 12:39:29 GMT -6
Interesting Ward. I have come foam that I can rig up to sit behind my R121. So, I'll check it out and see how much mud there is vs. the benefit (to me) of sometimes not wanting the room in my R121. Thanks! There's a better way, swurveman!! You have any sleeping bags or duvets lying around? Build baffles about 8' from your microphone. Us mic stands down at their lowest levels and toss sleeping bags, duvets, comforters over them. Like building a cloud!! And lay the amp on carpet, and the micstand too. You will eliminate virtually all room tone without creating an anechoic chamber or increasing proximity mud. Create a circle around the amplifier with the mic stands and draped over blanketing. You'll be surprised at how well this will work. Thanks for your advice Ward. I'll check it out. |
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Post by guitfiddler on Aug 4, 2015 15:16:43 GMT -6
The Voodoo VR1 is getting rave reviews, has anyone put this up against the Royer 121? Drum Overheads and guitar cabs.
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Post by jeromemason on Aug 4, 2015 15:41:15 GMT -6
Just a quick look at that really makes me think it'd have some proximity issues, build up in the 400 region which can really screw guitars up. Guitars and vocals, I want to sound like I've tracked them in an open field. Be interested to know how this works.
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Post by guitfiddler on Aug 15, 2015 3:58:48 GMT -6
Just a quick look at that really makes me think it'd have some proximity issues, build up in the 400 region which can really screw guitars up. Guitars and vocals, I want to sound like I've tracked them in an open field. Be interested to know how this works. I have not experimented much with it yet, but it seems it works really good for ribbons. I have been working on my live rig and haven't had time to put it through it's paces. Seems the Voodoo VR1 is becoming very popular for a live stage guitar cab mic also. I have heard amazing tracks recorded with that mic. I am not affiliated with SE electronics in any way. Just thought it sounded really good in the demos I heard and is less than half the price of a Royer. |
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