14 Jun
2011
14 Jun
'11
11:06 p.m.
On Tue, Jun 14, 2011 at 03:23:47PM +0200, Cedric Roux wrote:
I liked the very end, about adding an EQ to a (as far
as I understood)
cheap microphone and get the same sound than a more expensive one.
Funny.
It's true, as long as we talking about just on-axis FR differences.
What sets a quality mic apart are things like
- noise level,
- off-axis frequency response,
- absence of FR errors that can't be EQ'd easily,
e.g. high-Q resonances,
- RFI rejection,
- quality of construction and materials,
- accurate and complete specs.
The first two really matter when a mic is not used for a single
instrument or voice, but for a complete orchestra, ensemble or
section of an orchestra.
Consider a mic used as part of e.g. an ORTF stereo pair for
a classical music recording. It has to pick up the complete
orchestra plus room sound - from all directions, not just
front - with the same good frequency response. Levels can
be easily more than 60 dB down compared to what's seen
by a solo mic. For this sort of thing you need the star
names.
For once I'd agree with Ralf that there are some things you
can't fix with EQ.
(I don't claim expensive mikes are useless,
it's all about noise
at this point I guess, for what I understand about this business...)
Anyway, thanks for this link, it was very instructive.
Yes, some good myth-busting.
Ciao,
--
FA