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Don Cabellero Microphone Setup Pictures

12 by hollis_Archive
[/So one capsule is in figure 8 and the other is in cardioid? ]


well, you can move each capsules pattern between cardiod and omni on the power suppy. I seem to remember that there is a half-step between cardioid/figure 8 and figure 8/omni. Its been a while since I've used one so I could be wrong but I do remember loving it and using it alot on drums. I assisted Brian Paulson many moons ago and he dug it, in front of the kit similar to the session above.

[/that placing a mic directly in front of a guitar cab speaker cone was a bad idea]

I've found that the sound right in front of the speaker is somewhat brighter than towards the edge. I assume thats because of the additional excursion of the driver at that point and possibly more uniformaly formed soundwaves. That is, there would be a more focused signal in the middle of the speaker.

Don Cabellero Microphone Setup Pictures

13 by max_Archive
Jon wrote:[which, if either, is the "better" way of getting a decent starting guitar sound?[/a farily unrelated, and possibly stupid question]

The best way of getting a decent guitar sound is to place the mic where it sounds best.
Now that I've typed that I feel that it's a stupid answer to a normal question.
But seriously, have a friend or a remote controlled robot move the microphone infront of the best sounding speaker up and down, back and forth. If your friend is wearing headphones, you can dictate him from the control room what to do - just like a robot. Let him/her/it leave the microphone where it sounds best. Easy.
I've read in a book about recording to place the SM 57 in a 37 degree angle to the spot where the cone meets the centre of the speaker.
That's what I call a stupid advice.
Best, Max.

Don Cabellero Microphone Setup Pictures

16 by johnnyshape_Archive
bobulatorm wrote:
max wrote: or a remote controlled robot

i know you were semi joking, but how realistic is this? it'd be fucking awesome! :D


A long time ago in a studio far far away I remember the engineer talking to me and describing some big shot producer (I think) who owned something like this. Like a remote controllable XY type thing to stick in front of 4x12s and move a mic around. Who it was I'm afraid I cannot remember. But it may exist...
It would be cooler if it was a real robot though. And it talked to you in, y'know, that voice. And its eyes lit up red. And it could be programmed for evil.

Don Cabellero Microphone Setup Pictures

19 by skatingbasser_Archive
Here you go.

russ wrote:Here are some pictures I took of the microphone setup for Don Cabellero's American Don sessions. Keep in mind that the setup could have changed at any point after I took these photos.

This first one shows the drum kit from the front. The drums are in the Kentucky room of Studio A. You can see an AKG C-24 out in front of the kit as the stereo overhead mic, a D112 for the kick, Josephson 606/609's on the toms, looks like a Beyer 160 as a mono overhead.
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This next one of the drums clearly shows the positioning of the C-24 (used as M-S pair) and you can also see the Altec 150's as room mics, and the Altec 175 on the snare.
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This shows a close up from behind the kit. There might be something strange going on underneath the hi-hats, but I can't quite tell.
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Here you can see another Altec 175 on the auxillary snare
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Moving on to the bass guitar cabinet which was in Center Field along with the guitar cabinets. That's an EV RE-20 on the left and an Audio Technica 4033 on the right.
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This one just shows the room mic for the bass cabinet - an AKG C-414.
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Two final shots of the guitar cabinet setup. From left to right it goes RCA BK-5A (room), VTL CR-3A, AKG C-28 w/ CK-4 (bi-directional) capsule, Coles/STC 4038.
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And here's a close up of the three close mics.
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"That man is a head taller than me.

...That may change."

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