Sound Samples, sE In The Studio
Adam: "The piano in this example is an extremely old Bechstein model A (6 feet in length), built in 1892, and is in need of some repair to get it sounding its best.
It's a dark-sounding piano, because I voiced it that way when trying to overhaul the instrument to the best of my ability. In the room, the tone of the instrument is stunningly rich and soulful, but this makes it challenging to record, without the resulting sound being on the darker side."
"I opted to place a stereo pair of the sE5's about 20 cm over the strings: the first mic being placed over the dampers, angled at the hammers to capture the sound of the strings being struck. The other was pointed towards the middle of the soundboard, which captures the characteristic midrange of these older pianos that is so defining of their tone. The soundboard is also fractured in places on my instrument causing it to buzz slightly in places, and the sE5's are exceptionally analytical in transmitting this, so this placement minimises the pick-up of these unwanted sounds, while still capturing the tone of the piano.
Every piano is different, but I'm confident that these microphones will naturally and articulately capture the tone of your piano. They really are a great choice, and have helped me achieve some beautiful recordings - even with my beat-up Bechstein!"
Adam: "For recording acoustic guitar, once again, I seem to have a darker-sounding instrument than most. The guitar I use is capable of a very rich, woody tonality, but at the same time outputs a very airy high end. The full spectrum of these sounds was captured by the sE5's in a way that no other mic I have used has done."
"I used a stereo pair mounted on the included stereo mounting bar, with one mic pointed towards the 12th fret, and the other over the sound hole, but angled towards the bridge, so as to avoid an overload of low frequencies. Both mics were at a distance of roughly two feet from the instrument.
The resulting sound is huge, rich and detailed - with no processing required at all. Panning the mics out left and right paints a very realistic stereo image of the instrument, and has given me some of my most beautiful acoustic guitar recordings."
Sound Samples, sE In The Studio, Live Sound
Our Voodoo VR1 ribbon is the go-to guitar amp mic for tons of guitar players worldwide, including Pete Thorn (Chris Cornell, Melissa Etheridge), Steve Stevens (Billy Idol), Linkin Park, Queens of the Stone Age, and many more.
But there are some who know a secret - it's a KILLER drum mic, both live and in the studio.
See and hear it on drums below:
In this sample from the band ALL WILL KNOW, Kristian "Kohle" Kohlmannslehner (Powerwolf, Hämatom, Eskimo Callboy, Benighted, Crematory, All For Nothing) has the VR1s in a spaced pair configuration, about one meter above the kit.
"Overhead mics are the most important weapons when it comes to capturing drum sounds - the foundation, so to speak. I have always prefered rather "full-sounding" overhead mics that give me the punch of the drums without too much harshness in the cymbals.
Those LDCs (large-diaphragm condensers) everybody seems to use have always been too thin and bright-sounding to my ears. So I have been using an old pair of AKG 414B-ULS for that purpose, until I discovered the Voodoos.
They offer a beautifully relaxed picture of the whole kit. Big drums, smooth cymbals and a nice touch of the room. Compared to most condensers, they sound "relaxed" - especially around 8kHz where cymbals can hurt your ears!
Compared to the other ribbons, they don't need a lot of EQ to sit nicely in the mix. The high end is perfect and the low end is not as overwhelming as with many traditional ribbons. Best of both worlds. Smooth ribbon feel with a condenser-like high end."
Ryan Pickett, FOH and live performance archive recording engineer for the band My Morning Jacket, uses VR1 passive ribbon microphones for the band's live drums in a Blumlein pair - at a 90-degree angle with the capsules coincident. Pickett, who has been working with the band for eleven years, also using the VR1s for the band’s front man Jim James on his first solo project:
“I chose the VR1 mic for its size and price point. I love the added air at the top end of the VR1; it delivers more high-end than traditional ribbons.
The drum sounds have become very open and natural, and cymbals no longer hurt. I also find myself using less EQ on the overhead channel strip...and the VR1s are also low-profile enough to allow me to get the right proximity without blocking the audience or drummer’s sight lines.
The sE mics are very robust. That's what really sets them apart from other ribbons. I’ve had other ribbon mics that were too delicate to take on the road, but I've had no problems with the VR1s. I really like the idea of being able to use studio mics in the live realm without having to worry about ribbon failure.”
On another recent project that he recorded at his studio, he used a pair of VR1s in a three-mic arrangement inspired by legendary engineer Glyn Johns:
“We used two VR1s placed equal distance from the snare, with one six inches from the floor tom and another overhead - both 13 inches from the snare - along with a Beyer M 88 on the beater side of the kick. The result sounded very round, warm and 3D. The size and sound were perfectly suited for that particular jazz application.”