Klarinet Archive - Posting 000381.txt from 2000/02

From: "Benjamin Maas" <benmaas@-----.com>
Subj: RE: [kl] Minidisc Recorders into microphones
Date: Tue, 8 Feb 2000 19:45:26 -0500

> 1. Why are microphones so expensive?? For $3800 you could get ~100
> pounds of electronic equipment with 10,000 more parts, some just as
> small and with more rare metals.... I accept that they are worth it, and
> if someone could make them cheaper they would- but I just can't see why
> they cost so much.

Several reasons: Small market. Extreme percision manufacturing. Lots of
R&D money to develop the microphone and its technology. That stereo
microphone that costs $3500 has 4 diaphrams that are 1" in diameter and
about 4 microns thick. They have to be perfect... Some will obviously be
flawed when made. Those are throw-aways. They are made of gold, actually.
The electronics in them are some of the cleanest available. Put it all
together and you get a product that costs a lot of money. Look at good tube
gear. Some of the tube inside the microphones I use cost over $300 to
replace.

In musical terms, why does an oboe cost more than a clarinet? Why does a
Buffet prestige cost more than a R-13? Why does a violin cost as much as a
house?

> 2. In reference to Mr. Maas's statement " Everything in the chain
> affects the sound. Your sound is only going to be as good as your
> weakest link. "
> I'd agree, but how expensive do I need to get on the mic cables and
> plugs? I mean if we are ending in a portable mini disc recorder, what
> would be a reasonable cable? 25 cents a foot? $1 a foot? $5 a foot? A
> tough question I know.

I am actually not too much of a cable fiend. For microphones, I use Canare
or Mogami that costs about $0.80/foot. There are other decent cables that
cost even less. The plugs and connectors are pretty standard manufacturers
(only a few do it). You want to use stuff that is better than Radio Shack.
The problem with much RS stuff is that is is sometimes wired incorrectly.
Some engineers would disagree with me, but cable will have the smallest
affect on the sound.

Also (not wanting to fan the flames), most Audiophile stuff is bulls--t. It
is nothing more than an excuse to spend money.

You will find that the greatest impact in the sound will be in the
microphones, preamps and digital converters. (In that order). The problem
with converters in a MD is that it uses a lossy compression scheme, like
MP3. DAT and other "pro" formats do not employ data compression. The new
DVD audio standard that will hit this fall employs compression, but it is a
"lossless" compression. DVD video (AC-3 and DTS) uses a lossy compression
scheme as well, although it is not as bad as MP3.

>
> 3. Mr. Maas: Given that we're going into a mini disc recorder, what
> would you use to mic a good grand piano? And where would you place
> it/them? Or should I ask how much would you charge to answer those
> questions?
>

Something that you can afford. Put it where it sounds best. I hate to be
so cryptic, but that is what it comes down to. I own multi-thousand dollar
microphones because I can often earn several hundred dollars on a gig. That
is what I can afford. You probably would want to get something different.
Once you get into high-end equipment, you are getting it for its tonal
qualities. Mics are like instruments. I like Buffet, you like Leblanc.
Both are usable and both are good. They have radically different sounds.

If you can afford really good microphones, get a DAT machine. To get a
really good recording, hire an engineer that has the gear. When you hire
somebody like myself, it may cost you a few hundred dollars for a project
from start to finish. However, you are also buying my experience and paying
for the use of my equipment. I may bring $15,000+ worth of gear to a gig to
get the best sound for a recording. You just saved $14,500 (and a heck of a
headache) by hiring me to do the work.

As for placement, for every rule I can give you, I could think of 10
exceptions to that rule. Over the 7 years and 700+ recordings I have made,
I have learned how to deal with specific issues that may pop up. As a
musician, you have everything that it takes to be a good engineer for
acoustic music--ears. You know what it *should* sound like, so make it
sound that way. Experiment until you like what you hear. You won't always
hit a home run, but you will quickly learn what works and what doesn't.

--Ben

Benjamin Maas
Freelance Clarinetist and Recording Engineer
Los Angeles, CA
benmaas@-----.com
http://www.fifthcircle.com

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