не всегда. Тот же Ownhammer в серии Rock Box, который тут в последнее время часто проскакивает, описывает свои миксы так:
"The Classic (CLSC) cabinet – the primary sound the Rock-Box tone was built around – contains five such multi-mic mixes.
These are labeled as A, B, C, D, and E, with “A” being the tightest and most forward sounding, and “E” being the fattest and
most laid back. In addition to accommodating various potential use cases and personal tastes, these microphone inclusion
based voicings can also help balance out various pickup types and amp tones.
The Modern (MDRN) cabinet contains a singular multi-mic blend that best suits this alternate tonality, providing a more
scooped sound; slightly more information in the low and high end, and slightly less in the midrange.
The Blend (BLEND) cabinet is the result of a 50/50 mix between the CLSC-C voicing and MDRN voicing"
и нифига не очевидно, и непонятно, какие конкретно микрофоны в каких позициях использовались при создании каждого из импульсов. Хотя в старых наборах Ownhammer писал хотя бы набор микрофонов в импульсах
МИКРОФОНЫ
“
57” создан на базе динамического микрофона Shure SM57, современного производства.
“
70” создан на базе конденсаторного микрофона Microtech Gefell UMT70S.
“
121” создан на базе ленточного микрофона Royer R121.
“
160” создан на базе ленточного микрофона Beyerdynamic M160.
“
414” создан на базе конденсаторного микрофона AKG C414 B-ULS.
“
421” создан на базе винтажного динамического микрофона Telefunken MD421/5.
“
MID” создан на базе расположенного по центру кабинета ленточного микрофона AEA R92.
“
REAR” создан на базе расположенного сзади кабинета винтажного конденсаторного микрофона Neumann KM84.
“
ROOM” создан на базе расположенного в комнате винтажного конденсаторного микрофона Neumann KM84.
МИКСЫ
“
BOLD” – это запатентованный микс, в котором выдвинуты вперёд средние, и слегка ослаблены нижние и верхние частоты.
“
CHUNK” основан на более “жирных” по звучанию версиях миксов BOLD и PROG.
“
CUT” основан на комбинации двух микрофонов 57, расположенных на и вне оси динамика.
“
JS” основан на конфигурации с несколькими микрофонами, созданной Джоном Саймонсом.
“
MDRN” основан на комбинации микрофонов 57 и 421.
“
OH1” основан на комбинации микрофонов 57 и 121.
“
OH1F” основан на более “жирном” звучании комбинации микрофонов 57 и 121.
“
OH2” основан на комбинации микрофонов 421 и 121.
“
OH2F” основан на более “жирном” звучании комбинации микрофонов 421 и 121.
“
PROG” – это запатентованный микс, превосходно сочетающийся с современными прогрессивными музыкальными стилями.
“
SP2” основан на конфигурации с несколькими микрофонами, созданной Скоттом Петерсоном.
“
CL1” is a page from classic rock, using only condensers and ribbons which are pulled back a little from the cab.
“
CL2” is a thicker and slightly darker version of CL1.
“
SHRED” is comprised of a more “forward” sounding D57M + R121 mic combination.
“
BROWN” is a more pleasing derivative of the “brown sound”, using a similar hardware configuration.
“
JPS” is a ‘Studio’ voiced mix using hardware utilized by a legendary Long Island prog rock/metal guitar icon.
“
JPL” is the darker ‘Live Sound’ counterpart based on documented placements used for this artist’s touring rig.
“
JS” is a multi-mic configuration created by Jon Symons
Auxiliary Placements
“AUX” is a mixture of all five unique Auxiliary capture types.
“FLOOR” is comprised of a ground plane placement using a Crown PZM-6D.
“MID” is comprised of a mid field placed AEA R92 ribbon microphone.
“REAR” is comprised of a cabinet rear placed vintage Neumann KM84 condenser microphone.
“RESO” is comprised of multiple placements that augment the midrange resonance of the cabinet.
“ROOM” is comprised of a room placed vintage Neumann KM84 condenser microphone.
Condenser Microphones
“C12” is based on a heavily modified Avantone CV-12.
“C30” is based on an Earthworks TC30.
“C32” is based on a Shure KSM32.
“C67” is based on a Neumann U67.
“C70” is based on a Microtech Gefell UMT70S.
“C84” is based on a vintage Neumann KM84.
“C87” is based on a vintage Neumann U87.
“C88” is based on the ‘mid’ element of a Shure VP88.
“C200” is based on a Mojave Audio MA-200.
“C414” is based on an AKG C414 B-ULS.
“C2011” is based on a DPA 2011C.
“CIWI” is based on a Blue Kiwi.
Dynamic Microphones
“D5” is based on an Audix i5.
“D6” is based on an Audix D6.
“D7B” is based on a Shure SM7B.
“D20” is based on a Heil PR20.
“D30” is based on a Heil PR30.
“D57B” is based on a Shure Beta 57A.
“D57M” is based on a modern production Shure SM57.
“D57V” is based on a vintage Shure Brothers Unidyne III SM57.
“D58” is based on a Shure SM58.
“D88” is based on a Beyerdynamic M88 TG.
“D201” is based on a Beyerdynamic M201 TG.
“409” is based on a vintage Sennheiser MD409.
“D421M” is based on a modern Sennheiser MD421-II.
“D421V” is based on a vintage Telefunken/Sennheiser MD421-5.
“D441” is based on a vintage Sennheiser MD441.
“D545M” is based on a modern Shure Unidyne III 545SD.
“D545V” is based on a vintage Shure Brothers Unidyne III 545D.
“D549” is based on a vintage Shure Brothers Unidyne IV 549.
“D906” is based on a Sennheiser e906.
Multi-Element Microphones
“M2500” is based on an Audio-Technica AE2500.
Размещение рекламы