Posted by Rick Denney on February 15, 2003 at 15:05:16:
In Reply to: Re: Tech advice...recording equip? posted by Daryl on February 15, 2003 at 00:44:38:
I agree.
The difference between the AT-822 and the 825 is the impedance. If you have a two-conductor per channel input (like a stereo miniplug or other phone-type plugs), then you need the unbalanced 822. If you have a pro mixer or preemp with an XLR connector with three prongs in it, then you need the 825.
These microphones have a rated input sound pressure level of 125 dB, which is 10dB higher than the $100 Sony microphone. That 10 dB makes a huge difference. If the microphone's transducer bottoms out when you play loudly, then the ONLY solution is to move the mike away from the tuba to lower the quantity of sound reaching it. The maximum SPL rating is a measure of the raw capacity of the transducer.
My AT-822 records fine into a cheapie Sony Minidisc recorder, which I play into CoolEdit on my computer using an analog stereo connection. CoolEdit's reverb effect is quite good, though there is no replacement for real reverberation. A large room with hard surfaces that are not parallel will give you the most reverb with the least echo. (Don't add effects for an audition tape--it will do you more harm than good--but reserve them for commercial tapes or CD's that you are going to sell to audience members.)
With a decent room, good mike placement, the AT-822 and an MD recorder, mixed into CoolEdit through a good-quality sound card (I use a Turle Beach Santa Cruz), you will get about 98% of what a studio could give you.
Rick "who thinks the difference between a $300 mike and a $1500 mike is less than between a $300 mike and a $100 mike" Denney