Fredman SM57 miking technique; anyone still doing this? - Page 6
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Thread: Fredman SM57 miking technique; anyone still doing this?

  1. #41


    Join Date: Sep 2008
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    Quote Originally Posted by Drew View Post
    Not really - maybe one afternoon I'll give it a shot, but I'm pretty happy with the sounds I'm getting at the moment, so the urge to experiment further hasn't been terribly high. That "fizz killing" two SM57 approach is something I've heard of as associated with SRV, for what it's worth.



    I mean, try everything... If you're doing something that relies on creative phase cancellation for the sound then yeah, it'll be a nightmare... But, if you have two mics that are already in phase, adding a third that's in phase with either one of them should result in a mic setup with all mics in phase.

    Easiest way to get a second mic in phase with a first, IMO, is to simply flip phase on your DAW or mic pre, and then move the mic around until you get the thinnest, shittiest, most washed out possible tone... And then reverse phase to normal, and everything should sound huge. I've talked to guys who position each mic individually to sound best on their own, regardless of phase alingment, and then manually phase align the two tracks in their DAW by zooming way in and then aligning the waveforms, but that sounds like a titanic pain in the balls and IMO not worth it (and - also IMO - it's sort of hard to gauge how the two mics will compliment each other once phase-aligned, by listening to each individually.
    Yeah fuck that, not worth it. If I have to flippy flip shit, zoom in, etc. I'm not doing it. I'd rather do one SM57 than do all that shit.

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  3. #42


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    Quote Originally Posted by TheKindred View Post
    would doing the two 57's but then putting a ribbon back behind them be more trouble than it's worth?

    seems like best of both worlds to blend later, but also assuming that getting all the phase alignment right could be a potential deal-breaker nightmare
    I put the 57s on one cone of the 4x12 and a ribbon on another.

    What you're worrying about in terms of phase is that the mics are all the same difference from the cone. I set mine by eye, and then listen, if I'm not hearing any phasing then I am good to go. If I hear phasing, then I'll move either the pair of 57s or the ribbon in or out a little bit until the phasing gone.

  4. #43


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    Quote Originally Posted by Jeff View Post
    Yeah fuck that, not worth it. If I have to flippy flip shit, zoom in, etc. I'm not doing it. I'd rather do one SM57 than do all that shit.
    That's only necessary if you - for whatever reason - don't bother to get your mics in phase from the get-go. When they're phase-coherent, there's no need to do anything in your DAW.
    "They can kill you, but the legalities of eating you are a bit dicier." - David Foster Wallace

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  6. #44


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    Thanks for the responses guys. I'm familiar with the technique but never get to mess. The engineers that trained me are very big on committing to "tape"/DAW.

    So the workflow I''m used to is:
    • Putting a mic up
    • Setting Gain on Preamp
    • Listening back to the signal
    • Adjusting the microphone if I think it's too bright or too dark
    • Using an equalizer that will be committed (Analog or DSP like on an Apollo or Digital Mixer)

    We never did much high gain stuff so I never saw a need to try out the Fredman technique.

    Matt brings up a good point of a lot of guy's using it as a way to "EQ". That would probably annoy me, so I would probably send them to a bus and EQ them as one signal going in. I would commit to the gain relationship established at recording. I probably need to mess around with this sometime and print up some graphs of what is exactly is happening.

    How often do you guys use this technique versus just single mic?

    Do you guys put up the on-axis mic and place it where it sounds the best and then blend the off-axis in? Or do you listen to both of them at the same time and place them together?

  7. #45


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    So I would definitely NOT recommend the Fredman clip from Wilkinson Audio. It's so plainly obvious that it's 3D printed, they didn't even take the time to smooth it out a bit. If this were $5, then fine. But $25 is a joke. Not to mention that it's an absolute pain in the ass getting the mics into it in the first place. If you're going to do Fredman, use two stands, or find another clip.

  8. #46


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    Quote Originally Posted by Jeff View Post
    So I would definitely NOT recommend the Fredman clip from Wilkinson Audio. It's so plainly obvious that it's 3D printed, they didn't even take the time to smooth it out a bit. If this were $5, then fine. But $25 is a joke. Not to mention that it's an absolute pain in the ass getting the mics into it in the first place. If you're going to do Fredman, use two stands, or find another clip.
    yeah the clip is shit. Rips the paint right off of the mics

  9. #47


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    I've had good luck with the clip.

  10. #48


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    Quote Originally Posted by Jeff View Post
    So I would definitely NOT recommend the Fredman clip from Wilkinson Audio. It's so plainly obvious that it's 3D printed, they didn't even take the time to smooth it out a bit. If this were $5, then fine. But $25 is a joke. Not to mention that it's an absolute pain in the ass getting the mics into it in the first place. If you're going to do Fredman, use two stands, or find another clip.
    looking at the image of that I thought it was 3d printed. Sucks that it is not working for you.
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