Klarinet Archive - Posting 000105.txt from 2010/02

From: "Mike Vaccaro" <mike@-----.com>
Subj: Re: [kl] Clarinet EQ
Date: Sat, 20 Feb 2010 23:36:36 -0500

Just my 2c. If you really want to get an idea of the real sound you are
getting play outside. Every room has a different sound (as do microphones
and amps, etc etc.). Take the horn outside on a day that is 72 degrees and
play. Don't forget too that temperature enters into the equation. Minimize
the variables that effect the tone. Out doors is a pretty good indicator of
your dry un-altered sound

Mike Vaccaro
www.MikeVaccaro.Com

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From: "THOMAS P" <Tski1128@-----.com>
Sent: Saturday, February 20, 2010 6:39 PM
To: <klarinet@-----.org>
Subject: Re: [kl] Clarinet EQ

> Thanks Ben, I was going to write you privately with my questions but I
> thought if you responded via the list some other clarinetist would gain
> some insight. I've never had too much trouble when I record other
> musicians, bucause I can hear what they are sounding like as I place mics
> and mess with EQ and such. But the problem lies trying to figure out
> exactly "what do I sound like?" That age old question what is "real" and
> what is electronic. That's the point I would like to make to the list.
> No who you hear on a recording you're really not hearing "real" you're
> hearing an approximation of real.
>
> Many on this list have expressed loving the sound of Artie Shaw on Begin
> the Begine, Most likely RCA ribbon mics through all kind of Tube
> electronics and recorded to a type of vinyl that was most likely different
> that was available later. Did that "make" his tone? Probably not, it most
> likely took a "warm" timbre and enhanced the warmth. A recording of a
> great performance is not the real thing it's a recording of the real
> thing, It may or may not sound better than the actual performance.
>
>
> I've been recording with with Old shure Ribbons 300s ( that have been
> rehabed by steve sank, these sounded much better than my AEA ribbons)
> through an AEA ribbon pre into an Apogee interface into mac pro and logic.
> I hadn't messed with 10-12k range and I've managed get the sound on tape
> that I hope is what I sound like in real life. My next thing is to try to
> get this sound with my video camera.
>
> Thanks for the help. Tom Puwalski
>
>
>
>
>
>
>
> On Feb 18, 2010, at 4:45 PM, Benjamin Maas wrote:
>
>> Been meaning to respond here, but life and work has kept me busy...
>>
>> The answer to all of these questions are "it depends."
>>
>> There are no set EQs that will work for a clarinet- the sound you have on
>> tape (figuratively speaking) is a result of a combination of factors that
>> change on every recording made. These include, the mic position, the
>> microphone itself, the preamp and last but certainly not least, the room
>> it
>> is being played in (never mind the player issues such as reeds). Even
>> with
>> the same mic in the same room through the same preamp, you'll find
>> different
>> sounds. Why? The positioning is never exact and the sound of a room can
>> change with the relative humidy.
>>
>> That being said, here's a couple guidelines that may help you get
>> started.
>> A wide boost in the range of lets say 200 Hz to 350Hz will give a bit
>> warmer
>> sound. A cut in the 3KHz to 6KHz range will take off some of the edge-
>> but
>> be careful, too much of a cut there will make the sound rather dead and
>> lifeless. A shelf in the 10-12 KHz range will add "air" to the sound and
>> open things up a bit without making it too bright sounding. A narrow cut
>> in
>> the range of 400-550 Hz will help tame a "boxy" sound. A cut in the
>> range
>> of perhaps 800Hz to 1.5 KHz will help tame a nasal sound.
>>
>> Beyond that, as I said, ever situation is different. What I usually
>> recommend to those trying to learn to EQ is to do drastic moves. Raise
>> or
>> lower a frequency by 15 or 20 dB. Go extreme and you'll hear very
>> clearly
>> what you're working with. As you sweep the frequency, you'll begin to
>> notice magic spots for given sounds that will really help you out. At
>> that
>> point, move the gain of the cut to only a couple dB and you should be in
>> pretty good shape.
>>
>> As for ribbons vs. condensers... Apples and oranges. Both can be good,
>> but
>> both have massively different sounds. A ribbon will generally be a bit
>> more
>> mellow and take to EQ better. But, like all mics, there are quality ones
>> and crappy ones. I recommend highly Royer, AEA and Coles. I also
>> recommend
>> Beyer, but not as much as the previously mentioned mics. I do not
>> recommend
>> the Chinese-made ribbons out there that appear under a slew of different
>> names. Some have been modded out by replacing the ribbons, transformers
>> and
>> such and they can be ok. The stock ones are really not great, though,
>> IMO.
>> A good ribbon will be in the same price range as a good condenser. For
>> condensers, I recommend Schoeps, Sennheiser MKH8000 series or MKH40, some
>> of
>> the vintage Neumann and AKG mics, some Microtech Gefell, and such...
>> There
>> are plenty of good mics depending on what sort of sound you're looking
>> for,
>> but rarely do I find mics that I really love under about $1000 new.
>>
>> --Ben
>>
>> Benjamin Maas
>> Fifth Circle Audio
>> Long Beach, CA
>>
>>
>>> -----Original Message-----
>>> From: Tom Puwalski [mailto:tski1128@-----.com]
>>> Sent: Sunday, February 14, 2010 11:22 AM
>>> To: klarinet@-----.org
>>> Subject: [kl] Clarinet EQ
>>>
>>> Does anyone have any eq ideas on what seems to be "normal" for close
>>> miced clarinet? Have you noticed diffences between ribbon and
>>> condensor mics?
>>>
>>> Thanks Tom Puwalski
>>>
>>
>>
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