- Joined
- Jan 7, 2018
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Wouldn't you say its advisable to set the EQ of the microphone to 0 0 0 in the MIC - Setting (arrived at by being in MIC Settings then using TAB to get to the settings and the 3 band EQ) as well as the MAster EQ's 5 band EQ (set to 0 0 0 0 0) since that would also affect the microphone?
Especially if you are using an expensive microphone (I have two condenser ones and two dynamic ones) with character.
I guess EQing it already on the piano would transfer to the recording track and destroy it's natural sound curve. So better to leave the Master EQ at 0 0 0 0 0 if recording but perhaps adjust it according to the space when doing a gig / making a stage performance where the acoustics may lower say the highs and the lows. Right?
So one may settle with adjusting the EQ for the parts of the piano and then leave the microphone neutral, I was considering.
I get it that if one finds the vocals pleasant with some eq then one might as well record them with that EQ to avoid EQing in Cubase but it seems easier to compensate in Cubase where you may see the signal and peaks/bumbs and lacks on a curve in the Insert window. But well, if not using Cubase then one may use the ear and adjust that way I figure. Any advice?
REgarding the pick of MIC I looked at the specs of the PGA 48 (which someone recommended for the DGX 670) = 600 Ω Sensitivity at 1 kHz: -53.5 DBV / Pa (2.10 mV) ........and tried to compare with our Samson Q2U (which I have to turn the gain up to like 98-100 to get enough out of), tHe specs of which are .....Sensitivity: -54dBV/Pa Max. SPL: 148dB SPLn(could not find the resistance but perhaps that is implicit in the sensitivity. I don't know much about comparing. TO compare, the Shure 58 has an Output impedance of 300 Ohm Sensitivity: -56 dBV / Pa (1.85 mV)
With our 2 Condenser mics there might not be such a problem with low gain but anyway I feel I need to turn up the gain to 94 for the Aston Spirit mic, which I just bought, if looking at the gain meter on the DGX670, in the Microphone settings window. HOwever the amplitude (in CUbase after recording) is very much higher for that latter condenser than for the Samson Q2U or Rode m1 for that sake, if I remember correctly.
Any advice? SHould we get the FEthead from Triton to boost the Samson, or is it better to just turn down the BAcking music in Cubase in order to compensate for the low Microphone input? THat is what I typically do. THen I try to adjust the mastering output of the combined tracks and watch that it doesn't distort.
Would you increase the Cubase recorded VOcals track Volume or does that perhaps increase the noise. Or perhaps not since at this point there are no more cables, amplifiers or extra routing introduced since we are already in CUbase. AM I understanding this correctly you think?
Will using a Fethead preamp with a condenser mic ruin the latter?
Especially if you are using an expensive microphone (I have two condenser ones and two dynamic ones) with character.
I guess EQing it already on the piano would transfer to the recording track and destroy it's natural sound curve. So better to leave the Master EQ at 0 0 0 0 0 if recording but perhaps adjust it according to the space when doing a gig / making a stage performance where the acoustics may lower say the highs and the lows. Right?
So one may settle with adjusting the EQ for the parts of the piano and then leave the microphone neutral, I was considering.
I get it that if one finds the vocals pleasant with some eq then one might as well record them with that EQ to avoid EQing in Cubase but it seems easier to compensate in Cubase where you may see the signal and peaks/bumbs and lacks on a curve in the Insert window. But well, if not using Cubase then one may use the ear and adjust that way I figure. Any advice?
REgarding the pick of MIC I looked at the specs of the PGA 48 (which someone recommended for the DGX 670) = 600 Ω Sensitivity at 1 kHz: -53.5 DBV / Pa (2.10 mV) ........and tried to compare with our Samson Q2U (which I have to turn the gain up to like 98-100 to get enough out of), tHe specs of which are .....Sensitivity: -54dBV/Pa Max. SPL: 148dB SPLn(could not find the resistance but perhaps that is implicit in the sensitivity. I don't know much about comparing. TO compare, the Shure 58 has an Output impedance of 300 Ohm Sensitivity: -56 dBV / Pa (1.85 mV)
With our 2 Condenser mics there might not be such a problem with low gain but anyway I feel I need to turn up the gain to 94 for the Aston Spirit mic, which I just bought, if looking at the gain meter on the DGX670, in the Microphone settings window. HOwever the amplitude (in CUbase after recording) is very much higher for that latter condenser than for the Samson Q2U or Rode m1 for that sake, if I remember correctly.
Any advice? SHould we get the FEthead from Triton to boost the Samson, or is it better to just turn down the BAcking music in Cubase in order to compensate for the low Microphone input? THat is what I typically do. THen I try to adjust the mastering output of the combined tracks and watch that it doesn't distort.
Would you increase the Cubase recorded VOcals track Volume or does that perhaps increase the noise. Or perhaps not since at this point there are no more cables, amplifiers or extra routing introduced since we are already in CUbase. AM I understanding this correctly you think?
Will using a Fethead preamp with a condenser mic ruin the latter?
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