Відео

The TLM49 can sound fantastic on many sources especially vocals. But in our opinion it is not as universal as the C414XLS or the OC16. The C414XLS especially doesn't have its own distinctive sound and therefore can be shaped with an EQ very well. I think there's a good reason why C414s can be found in front of guitar amps, as overheads on drums, as close mics for orchestral recordings as well as mics in front of singers - they simply work on anything.

@@kaplanhirschmannmusic893 Sure but her voice sounded amazing on the 49!

@@aesoundforge You‘re right. This song needed a mic that sounds like a tube mic. We tested several of our mics before we recorded this song and the other one we liked was our Audio Technica AT 4060 (a real tube mic).

Thank you. You can hear more of Elisabeth's work as a singer als well as a solo artist in this playlist: ua-cam.com/play/PLWSi_H7o5y-RRvfFP_sh-q8yJUeIxfXF7.html

Disclaimer: There is a little more processing going on on the TLM 49 than on the other mics - as this is the final mix of the song. We tried to use as little processing as possible on the OC16 as well as on the two 414s in order to feature their sound and not the plug-ins involved.

Thank you!

@@bearandrobert I also think, that the OC16 sits between the two C414s when it comes to it‘s sound. We use it a lot on acoustic guitar because it needs less eq-tweaking than a recording done with the XLS. The XLS sounds extremely neutral, some may say boring, but it takes eq extremely well. The OC16 on the other hand delivers a more finished sound on many sources due to it’s presence boost. So in the end it may need less work during mixing.

You'll need an audio interface with a built-in microphone preamp. A cost effective solution would be a Focusrite Scarlett Solo, Universal Audio's Volt 2 or SSL's 2.

Disclaimer: There is a little more processing going on on the TLM 49 than on the other mics - as this is the final mix of the song. We tried to use as little processing as possible on the OC16 as well as on the two 414s in order to feature their sound and not the plug-ins involved. During our tests we noticed that our three contestants really sound related and to show how familiar the are sound wise we decided to include the totally different sounding TLM49 we already had recorded at the time. If you want to hear the TLM49 and the C414 XLS the exact same way you can take a look at this video of ours: ua-cam.com/video/rq6Iz1KKIxU/v-deo.htmlsi=1rcmr0qgE80JYXcC

Thanks for you comment. I think the XLII isn't a bad microphone (in fact we were surprised how much we liked it) but in many cases it may have a sound that's too coloured. On overheads for example it could be very hard the tame the cymbals. We still have the XLII here in our studio but we don't use it, as the XLS takes EQ better nd the OC16 already has a nice presence boost and therefore often only needs a little bit of subtractive EQ depending on the source.

@@kaplanhirschmannmusic893 Just to clarify, I'm not calling the XLII a bad microphone in any way. We are in total agreement on the analysis. 🙂

Thanks!

Thanks for your comment! The 414B-XLS is indeed a very honest microphone. It takes EQ incredibly well. We didn't apply any EQ in our examples but the 414B-XLS can sound fantastic on vocals just with a little boost in the highs from a pultec-style EQ. In an upcoming video we will take a look at the two different 414s (XLS and XLII) currently available as well as the Austrian Audio OC16.

@@AditMMofficial We used the internal preamps of our RME Fireface UFX on all microphones.

The warm doesn't sound anything like a u67 and uses cheap components,fails very easily.

@@mirkomarkovic3438 Maybe your brain failed

To be honest we had no idea that there maybe was a HPF-switch. Do you have a TLM67 with this mod? If so, how do you like it?

@@kaplanhirschmannmusic893 I've had mine for a few months. On the stock setting, I have the same feelings as you about the mic, kind of dull. So I leave the HPF on at all times. I've also just changed out the super cheap mic cable to a Gotham GAC-7 and it suprisingly evened out the midrange perfectly. I'm still putting it through it's paces but overall, i'm really loving it. It's a rich sounding mic. Next up is trying out a few different EF86's for it. Best of luck.

Thank you for you kind words! The piano sound in this shootout is the combination of two Kontakt-Libraries from Native Instruments. It's the "Grandeur" combined with the "Una Corda". The "Una Corda" adds some mechanical noise and overtones to the very clean sounding "Grandeur".

Thank you!

Thank you!

Thank you! We have already other videos in the pipeline ....

I think overall my favorite was the 414xls. Very pure, intimate, & natural. That TLM49 is extremely seductive while being fairly natural. I would’ve liked a Shure KSM44 or 37 thrown in the mix along with maybe a TLM170 or 193.

You are partially right. It has been written with the BBC SO to test it, after we got it. When I tried to modify it in a way so that it works with the VSL Synchronized Special Edition however I quickly realised that I would be necessary to record some parts again, to get the dynamics right. So it isn't just edited.

Thank you for the clarification! I also read your caption only now😓 I always find quite funky to just copy a region from one library to another. For example I’m noticing that vsl has dynamics controllable with cc even in shorts. As you mentioned it’s very important to re-record the dynamics and other parameters. The vsl player has less articulations but more parameters available to to automate compare to core. Matter of fact I haven’t yet decided where to spend my money this Black Friday! 😂 You had both for a while , what is your personal experience? Thank you for your time:)

@@simonemicieli9024 I think in this example the BBC SO works better, but I like both. We have the VSL SE Vol 1. und Vol 2. and often use their solo instruments - especially wind instruments. For ensemble strings or brass on the other hand we tend to use the BBC SO because it offers more dynamic layers compared to the "smaller" VSL Editions. Best regards, Florian

It's a Alesis V49.

Super. Es freut uns wirklich, wenn unser Video bei der Mikrofonwahl hilft.

Thank you!

Do you have a favourite microphone or microphone emulation in this video?

@@kaplanhirschmannmusic893 While i listened to the video on an "inappropriate" home speaker, i found the TLM 49 to be smoother. About the ML1. I have one, which I'm trying tl sell. The first unit i had suddenly started producing a ocean-like humble noise, making it unusable. The second unit sounded fine, but there were moments where the noise would "come up" and disappear. I found it unreliable. In comparison to a TLM 103 and an AT4040, i found it to be very sibilant for my voice, even more than the TLM 103 Keep up the good work!

I‘ve heard from colleagues that there can be quality issues with Slate gear. However we are very happy with our ML1 - it works like a charm. I really like how it can sound with some of the emulations. The „pure“ sound of this mic on the other hand isn‘t something to write home about ;-).

It’s still a decent machine and can handle quite complex logic sessions. However these 2 logic sessions are not very cpu intense.

😁😁😁