Sonnova wrote:
>There are a number of fine microphones selling for under $100 each.
>There are excellent sounding mixers with ultra-quiet mike preamps
>available for incredibly cheap prices nowadays. In fact, one can
>get a full-featured excellent sounding 4-microphones-in, 2- channels
>out mixers for less than $100 from companies such as Alesis, TASCAM,
>Behringer, Mackie, Rotel, etc.
Well, I wanted to keep the recordings of the instruments separate, with
at least one .WAV file corresponding to each instrument. I've already
run into one person that appears to want to make a little bit of money
mixing the stuff (how hard could it be - isn't it just a matter of a
few XORs here, and a few ORs there, why, it ought to be feasible in
Unix without having to resort to a GUI), and modifying or stretching it
as needed, in post-production. I'm not sure it is a good idea to mix
any of those instruments at the time of the performance, if only
because it is harder (or darn near impossible) to unmix.
>These are far quieter and better sounding than state-of-the-art
>mixing consoles of a generation or so ago (of course, the more
>microphone inputs one needs the more the mixers cost).
That's good to hear!
>Microphone cables are likewise cheap nowadays with cables from Shure
>and others starting at less than $10 for a 20-25 ft length. Microphone
>stands are likewise cheap. The light, foldable On-Stage "Euroboom"
>stand complete with boom can be bought on-line for around $20 each.
>These stands are excellent. They're all black, don't have the heavy
>cast-iron bases of traditional stands and four of them can be carried
>in one hand (folded up, of course).
Yes, that was my impression, as well.
>It's truly a golden era for amateur/ semi-pro recording. The
>recordings that I have made using just the sort of equipment listed
>above are far better than anything one can buy commercially. With no
>signal processing and no compression or limiting, one gets the entire
>dynamic range that digital is capable of (and which commercial
>recordings NEVER give you). Careful mike placement will reward you
>with the kind of sound-stage and image depth that's rare to
>non-existent in commercial recordings.
That's why I wanted two microphones per performer. Since there won't
be any amplification system, I was wondering what people would
think of lapel mikes hanging off the microphone stands?
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