Bought some new microphones...started making some test recordings

[RickP]

As I understand it, the iFet was the marriage of a U87 type capsule to a U47 circuit.

UA/Bock currently makes the 187 FET. Like the iFET, It's a cardioid mic that's designed around a copy of the U87 capsule.

Thus it's similar to a Neumann TLM103, though the Neumann utilizes the U87's original Neumann capsule in a cardioid version.

I have to think that the 187 FET has something to do with the lineage Bock developed for the iFET, but I don't know what the circuitry is based on. It's got a couple of neat features that the TLM103 doesn't have.

If I didn't already have the 103, I'd be interested in the 187 FET, but UA/Bock also have a mic based on the tube U67. That's the one I'd be most interested in. I love the sound of a U67, and the Bock mics are quality; Neumann's U67 reissue is very expensive, and the Bock looks tempting.

The good news is that there's almost zero call for vocals in ads these days, so I don't need another vocal mic and I can use the dough for things like...let's see...food...and shelter!

Tape Op did a good article/interview on it a while back. Here’s the section on the construction, and why it has a V (vocal) and I (instrument) settings.

“But here's the clever twist. Bock didn't stop at just making a higher performance "Fet 47." As he explained to me, "Not everyone has a fortune to spend on a lot of microphones. I was curious what would happen if I took the K 47 capsule and married it to the U 87 amplifier." The Neumann U 87, as we know, is Neumann's other "classic" phantom-powered LDC mic. Unlike the amplification in the U 47 fet, which utilizes an input FET and four other transistors operating together as a discrete op-amp, the circuit in the U 87 relies on a single FET driving the output transformer directly. Bock started to wonder if it was possible to combine both amplification circuits into one mic. Well, that's what happened (more or less). The IFET (like its ifet7 predecessor) has a switch on it labeled I and V. In I mode, you are listening to the discrete op-amp amplifier. In V mode, the single FET. Keep in mind that an actual U 87 uses a K 67 or K 87 dual-backplate capsule, not the K 47 capsule in the IFET. Bock also modified the U 87 circuit, removing frequency- shaping elements that were necessary for the K 67 capsule (and unnecessary for the K 47), and decreasing negative feedback (ultimately making the IFET's V circuit more like the KM 84's).”

Unsurprisingly, the “I” setting works great with some vocals, and the ”V” setting on some instruments. But, for the most part, the natural settings work as expected. The thing for me was that it sounded good on both, so was like getting two for one where either side was as good as a single version of that kind of mic… rare, in my limited experience. You’ve done infinitely more than me, and most of my recording time was on the lower IQ side of the glass.

Good mics are often underrated in the process by musicians, but I’ve noticed that sometimes they are the difference. I’m always impressed when an engineer knows when a different mic is needed, and it does the trick. I’m a total newb still in that regard. I listened to an interview with Bill Schnee discussing marrying musicianship, equipment, and artistic sense by an engineer/producer, and its so interesting to get inside the mind of a person can make all of that audibly superior.

Sorry for hi jacking your thread, Lew… the topic is inspiring!

 

[Lewguitar]

Sweetwater did a great vocal mic shootout a few years ago with an insane number of mics... almost anything you can think of. The files are still available if you have a DAW:

Sweetwater's Vocal Mic Shootout

With 50 microphones ranging from $49.99 to $8,995 (on both male & female voices), Sweetwater has put together one of the largest comprehensive mic shootouts ever. Start listening now!

www.sweetwater.com

After listening and discussing with one of their people for quite a bit, I added a Bock Audio iFet. No longer available, as David Bock went to work for another company, but hands down one of the best I've used. Those comparisons can really help when you're stuck between mic a, b, or c.

Also bought a SM7b a good while back, and it works on literally anything. A very easy to use microphone. I'm sure you're going to really like that one, @Lewguitar !

Sweetwater's my favorite of the big box stores. And they always send me some Tootsie Rolls!

I'm still studying mics and recommendations. But I think for what I'm doing (just a bedroom studio, acoustic music and no dreams of having a hit single the kids are going to like) the SM7b is going to be great. Been playing with it

Tape Op did a good article/interview on it a while back. Here’s the section on the construction, and why it has a V (vocal) and I (instrument) settings.

“But here's the clever twist. Bock didn't stop at just making a higher performance "Fet 47." As he explained to me, "Not everyone has a fortune to spend on a lot of microphones. I was curious what would happen if I took the K 47 capsule and married it to the U 87 amplifier." The Neumann U 87, as we know, is Neumann's other "classic" phantom-powered LDC mic. Unlike the amplification in the U 47 fet, which utilizes an input FET and four other transistors operating together as a discrete op-amp, the circuit in the U 87 relies on a single FET driving the output transformer directly. Bock started to wonder if it was possible to combine both amplification circuits into one mic. Well, that's what happened (more or less). The IFET (like its ifet7 predecessor) has a switch on it labeled I and V. In I mode, you are listening to the discrete op-amp amplifier. In V mode, the single FET. Keep in mind that an actual U 87 uses a K 67 or K 87 dual-backplate capsule, not the K 47 capsule in the IFET. Bock also modified the U 87 circuit, removing frequency- shaping elements that were necessary for the K 67 capsule (and unnecessary for the K 47), and decreasing negative feedback (ultimately making the IFET's V circuit more like the KM 84's).”

Unsurprisingly, the “I” setting works great with some vocals, and the ”V” setting on some instruments. But, for the most part, the natural settings work as expected. The thing for me was that it sounded good on both, so was like getting two for one where either side was as good as a single version of that kind of mic… rare, in my limited experience. You’ve done infinitely more than me, and most of my recording time was on the lower IQ side of the glass.

Good mics are often underrated in the process by musicians, but I’ve noticed that sometimes they are the difference. I’m always impressed when an engineer knows when a different mic is needed, and it does the trick. I’m a total newb still in that regard. I listened to an interview with Bill Schnee discussing marrying musicianship, equipment, and artistic sense by an engineer/producer, and its so interesting to get inside the mind of a person can make all of that audibly superior.

Sorry for hi jacking your thread… the topic is inspiring!

You're not hi jacking anything! I'm glad to have lots of information from people like you, Wiley, Lazlo, Prina and anyone else who's jumped in.

I think between my Oktava mics and my Aston Spirit I'm in good enough shape for acoustic guitar mics.

But I'm curious if anyone here has gigged or recorded with a Fishman Aura Spectrum?

I have. Back when they first came out. I don't know that I'd record with one but they do sound pretty amazing live.

Fishman Aura Spectrum

How do you make a piezo-miked acoustic guitar sound like a real miked acoustic? Fishman have improved on their already impressive answer to that question...

www.soundonsound.com

 

[László]

Tape Op did a good article/interview on it a while back. Here’s the section on the construction, and why it has a V (vocal) and I (instrument) settings.

“But here's the clever twist. Bock didn't stop at just making a higher performance "Fet 47." As he explained to me, "Not everyone has a fortune to spend on a lot of microphones. I was curious what would happen if I took the K 47 capsule and married it to the U 87 amplifier." The Neumann U 87, as we know, is Neumann's other "classic" phantom-powered LDC mic. Unlike the amplification in the U 47 fet, which utilizes an input FET and four other transistors operating together as a discrete op-amp, the circuit in the U 87 relies on a single FET driving the output transformer directly. Bock started to wonder if it was possible to combine both amplification circuits into one mic. Well, that's what happened (more or less). The IFET (like its ifet7 predecessor) has a switch on it labeled I and V. In I mode, you are listening to the discrete op-amp amplifier. In V mode, the single FET. Keep in mind that an actual U 87 uses a K 67 or K 87 dual-backplate capsule, not the K 47 capsule in the IFET. Bock also modified the U 87 circuit, removing frequency- shaping elements that were necessary for the K 67 capsule (and unnecessary for the K 47), and decreasing negative feedback (ultimately making the IFET's V circuit more like the KM 84's).”

Unsurprisingly, the “I” setting works great with some vocals, and the ”V” setting on some instruments. But, for the most part, the natural settings work as expected. The thing for me was that it sounded good on both, so was like getting two for one where either side was as good as a single version of that kind of mic… rare, in my limited experience. You’ve done infinitely more than me, and most of my recording time was on the lower IQ side of the glass.

Good mics are often underrated in the process by musicians, but I’ve noticed that sometimes they are the difference. I’m always impressed when an engineer knows when a different mic is needed, and it does the trick. I’m a total newb still in that regard. I listened to an interview with Bill Schnee discussing marrying musicianship, equipment, and artistic sense by an engineer/producer, and its so interesting to get inside the mind of a person can make all of that audibly superior.

Sorry for hi jacking your thread, Lew… the topic is inspiring!

Apparently I got the circuit/capsule relationship backward! Sorry about that!

 

[László]

But I'm curious if anyone here has gigged or recorded with a Fishman Aura Spectrum?

I have. Back when they first came out. I don't know that I'd record with one but they do sound pretty amazing live.

Fishman Aura Spectrum

How do you make a piezo-miked acoustic guitar sound like a real miked acoustic? Fishman have improved on their already impressive answer to that question...

www.soundonsound.com

I haven't used one. I have tested a UAD plugin called Sound Machine Wood Works that's supposed to do the same thing, but while it was an improvement over the plain piezo, I didn't think it sounded like a good mic.

Could be that I didn't use it long enough to get the most out of it.

 

[Lewguitar]

I haven't used one. I have tested a UAD plugin called Sound Machine Wood Works that's supposed to do the same thing, but while it was an improvement over the plain piezo, I didn't think it sounded like a good mic.

Could be that I didn't use it long enough to get the most out of it.

That's how I felt about the Aura. I was playing Takamines at the time and the Aura sure made those Takamines sound good. But I felt like i was playing with a fake sound. I was always conscious of it.

Jerry Douglas uses one with his Dobro now. I doubt he records with it (maybe he does...) but he does use it live.

 

[László]

That's how I felt about the Aura. I was playing Takamines at the time and the Aura sure made those Takamines sound good. But I felt like i was playing with a fake sound. I was always conscious of it.

Jerry Douglas uses one with his Dobro now. I doubt he records with it (maybe he does...) but he does use it live.

For live use something like the Aura would be an improvement. I'd probably still use a mic unless a player moved around a lot on stage with an acoustic.

Times have changed with all this piezo stuff, but my first vocal/acoustic concert was seeing Dave Van Ronk live at a folk venue in Detroit in the '60s. I can still picture him on stage with a single dynamic mic. Piezos weren't even in the picture back then.

By '71 or '72 things were different; venues were a lot larger. I saw Stephen Stills on tour following his hit 'Love the One You're With' at a large venue (maybe Olympia?) with a mic for his voice, and another just like it for his acoustic. The sound was stunning; in fact I've never heard better at a live concert on an acoustic and vocal since. So I decided to follow that recipe.

Yes, I'm apparently still stuck in 1971...but it really sounded great and still does!

For players that need to move a lot on stage, different story.

 

[Lewguitar]

Sheesh! My grand daughter, Harper, is in 7th grade. The family came out to Paonia from Denver for a visit this weekend and I showed them my new fancy stuff...all stuff I haven't quite got a grasp on using.

I fired up the Tascam, explained that I had Audicity on my lap top, turned it on and within 5 minutes she had recorded a song using the keyboard!

Blew my mind.

These kids...

She said: "I could figure out this program in less than an hour and explain it to you".

Like i said: "SHEESH!"

I'm sure she could.

 

[László]

Sheesh! My grand daughter, Harper, is in 7th grade. The family came out to Paonia from Denver for a visit this weekend and I showed them my new fancy stuff...all stuff I haven't quite got a grasp on using.

I fired up the Tascam, explained that I had Audicity on my lap top, turned it on and within 5 minutes she had recorded a song using the keyboard!

Blew my mind.

These kids...

She said: "I could figure out this program in less than an hour and explain it to you".

Like i said: "SHEESH!"

I'm sure she could.

Great story.

The little ones all know how to record clips, mix their voices with music, and put 'em up on TikTok. For them, mere audio recording is a piece o' cake!

 

[Moondog Wily]

She said: "I could figure out this program in less than an hour and explain it to you".

If you did not, you should say "yes please my Dear"! As I had mentioned to you, Audacity is pretty simple, but be sure to make back up copies of stuff before you start messing with them in that program as it is a "destructive" editing process!!