Recording - April 2010 - 21
drummer to bring in his kit. So we did my usual guitar and vocal tests, and we tried the mic on a kick and snare that were lying around the studio, badly out of tune. Since I was at the university’s studio, I didn’t have my regular project-r preamp, but I made do with the SSL console that lives there. (Life’s tough sometimes.) defined (transformerless mic) and the highs just a tad brighter and more open. That’s unusual. Most large-diaphragm condenser mics have significant rises or peaks at the high end. On a good mic, this adds a bit of sparkle, air and definition; on a bad mic it can be harsh, spitty and unpleasant. Very seldom will you find a large-diaphragm condenser mic with this subtle and tasteful a lift; I think that’s a useful thing, for reasons I’ll explain at the end. unusually good performance for a largediaphragm microphone; from the side, at least, the TLM 102 was behaving more like a medium-diaphragm mic. At 180° the behavior was more typical of a large-diaphragm mic; the TLM 102 had a good deal less rejection than the SM81, and it had a pronounced rise in the high frequencies that made the sound very crisp and bright. On a hunch, I moved to 150°; although these are both nominally cardioid I began, as always, with my acoustic guitar, the instrument that after nearly thirty years I know best. With the SM81 and TLM 102 positioned 7" over the 16th fret, I recorded my usual piece, “Planxty George Brabazon”, then listened. The tonalities were remarkably similar, with the TLM 102’s bass frequencies slightly better- I tried the mics at 90°, again from 7" away; the two sounded almost identical. The SM81 is unusually flat off-axis; the TLM 102 was, if anything, a bit flatter-sounding. Fearing that the large body of the guitar (which subtended a significant angle from the mic’s position) was causing some anomaly, I backed off to 12" and tried again. Once more the responses were nearly identical, with the TLM 102 having perhaps a bit more bass. Again, this is microphones, they both showed more rejection at 150° than at 180°, which is behavior I associate with hypercardioids. In any case, the TLM 102 again had less rejection than the SM81, with elevated treble. This all suggests that the TLM 102 will have fewer problems with off-axis leakage coloring the sound than typical largediaphragm condensers, but it’s still something to listen for, particularly from instruments positioned at or near the 180° region.
http://euphonix.com/logicpro
Recording - April 2010
Table of Contents for the Digital Edition of Recording - April 2010
Recording - April 2010
Fade In
Contents
Talkback
2010 NAMM Show Report
Show Me The Quality: Jim Wilson of Airshow Mastering
Neumann TLM 102
The Road Less Travelled: James Cruz of Zeitgeist Sound
Roland Fantom-G
Shure KSM313
Recording’s Guitar Column
Daking Audio Mic Pre One
A-Designs EM-PEQ
DAW Details
It’s Your Money—Know Your Rights. Chapter 2: Filing A Copyright Claim
Recording’s Showcase of Sounds
Readers’ Tapes
Advertiser Index
Fade Out
Recording - April 2010 - Recording - April 2010
Recording - April 2010 - Cover2
Recording - April 2010 - 1
Recording - April 2010 - Fade In
Recording - April 2010 - 3
Recording - April 2010 - Contents
Recording - April 2010 - 5
Recording - April 2010 - Talkback
Recording - April 2010 - 7
Recording - April 2010 - 2010 NAMM Show Report
Recording - April 2010 - 9
Recording - April 2010 - 10
Recording - April 2010 - 11
Recording - April 2010 - 12
Recording - April 2010 - 13
Recording - April 2010 - 14
Recording - April 2010 - 15
Recording - April 2010 - Show Me The Quality: Jim Wilson of Airshow Mastering
Recording - April 2010 - 17
Recording - April 2010 - 18
Recording - April 2010 - 19
Recording - April 2010 - Neumann TLM 102
Recording - April 2010 - 21
Recording - April 2010 - 22
Recording - April 2010 - 23
Recording - April 2010 - The Road Less Travelled: James Cruz of Zeitgeist Sound
Recording - April 2010 - 25
Recording - April 2010 - Roland Fantom-G
Recording - April 2010 - 27
Recording - April 2010 - 28
Recording - April 2010 - 29
Recording - April 2010 - Shure KSM313
Recording - April 2010 - 31
Recording - April 2010 - Recording’s Guitar Column
Recording - April 2010 - 33
Recording - April 2010 - Daking Audio Mic Pre One
Recording - April 2010 - 35
Recording - April 2010 - A-Designs EM-PEQ
Recording - April 2010 - 37
Recording - April 2010 - DAW Details
Recording - April 2010 - 39
Recording - April 2010 - 40
Recording - April 2010 - 41
Recording - April 2010 - 42
Recording - April 2010 - 43
Recording - April 2010 - 44
Recording - April 2010 - 45
Recording - April 2010 - It’s Your Money—Know Your Rights. Chapter 2: Filing A Copyright Claim
Recording - April 2010 - 47
Recording - April 2010 - 48
Recording - April 2010 - 49
Recording - April 2010 - 50
Recording - April 2010 - 51
Recording - April 2010 - Recording’s Showcase of Sounds
Recording - April 2010 - 53
Recording - April 2010 - 54
Recording - April 2010 - 55
Recording - April 2010 - Readers’ Tapes
Recording - April 2010 - Advertiser Index
Recording - April 2010 - 58
Recording - April 2010 - 59
Recording - April 2010 - 60
Recording - April 2010 - 61
Recording - April 2010 - 62
Recording - April 2010 - 63
Recording - April 2010 - Fade Out
Recording - April 2010 - Cover3
Recording - April 2010 - Cover4
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