Emmett Andrews
Forum Replies Created
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Yes, the gain is low with dynamic mics on the MicPort Pro. There isn’t much you can do about it. There should be a switch on the device to 44100. You’ll just have to boost the gain from inside Audition after you record. This isn’t ideal, but it should still be much better than what you were previously using.
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I’ve never spoken to anyone that regretted buying an SM57. They hold value extremely well too, so if you want to sell it in a year or two, you’ll still be able to sell it on eBay for a decent amount. They sound great and they last forever. I know of at least a couple of commercially released albums that used an SM57 on vocals. It’s not common, but it does happen. I guarantee no one ever used your Samson on a commercial release. Let us know what you think!
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There’s also a device called CEntrace MicPort Pro. I don’t recall the price, but a Google search should turn up some info. It turns any mic into a USB mic. And it sounds GOOOOOD. Frankly, I think it sounds better than many inexpesive preamps, like the M-Audio USB devices and such. Worth a look!
Emmett
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It’s called “ducking” and it’s done with sidechain compression. As of right now, Audition will not natively do this. However, there are third party plug-ins that will. Google around for free VST compressors with sidechains. I hope Adobe will add something like this to the next version.
Emmett
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Not that I’m aware of. I think manual is the way to go.
Emmett
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I actually really like the SM57 on vocals (sometimes). I will stand by my belief that it’s one of the best mics ever concieved.
Lots of good advice from Willie here. As far as the recording level, there will always be an ongoing debate about what’s “best”. I don’t even bother with the debating part of that one because there’s no right answer. My personal preference is to record as hot as humanly possible without clipping. As long as you’re getting a fairly strong signal and not clipping, whatever level you choose should be fine.
I’m still hung up on the megaphone sound…That just doesn’t seem right at all. I hate to ask this and I don’t mean to insult, but are you absolutely sure you’re singing into the correct side of the mic? I’ve seen it before….More than once, where someone will be singing into the back of the diaphragm and, as a result, get a repulsive sound.
Emmett
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While the Samson isn’t the highest quality mic available, I’ve heard acceptable results. Certainly nothing that sounded like a megaphone. That leads me to believe that this is more of a room problem…Or maybe even a faulty product. What type of room are you recording in? Is there any acoustic treatment? How far away from the mic are you while recording? Do you have a sample we could hear?
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Uncheck the box in the FFT filter that says “Lock to constant filter”. Then you will have to set the initial graph and final graph (there are tabs for both). You will lose the ability to preview, so it may take some trial and error.
Emmett
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I concur. You can mess around with the dynamics processor. Try a fast attack and fast release. Visually, it will even out the levels nicely. Audibly, however, I don’t expect that it will give you good results at all.
Even with a lot of manual adjustments, there won’t be much. As Willie says, a shotgun mic may help. The standard is the Sennheiser MKH-416. However, the R0DE NTG is very good, as well and much less expensive. It would probably help considerably with dialogue, but music would still sound rough.
Emmett
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-70/70 is pretty wide. Start by pulling those into about -35/35. Other than that, it’s all about compression and EQ. You may not need any compression, but string-line EQ would serve you well. “Carve” out holes for each instrument that overlaps. For instance, the kick lies around 60Hz. So the bass can be high-passed at 60Hz to make room for the kick. The vox and guitars can be high-passed at 125Hz or so. You can carve into the guitars a little in the 300Hz-1kHz range to make more room for vocals. See where I’m going with this? It’s like putting a puzzle together.
Emmett