Show 021 – 5 ways to get more out of your mics and the Yamaha PM5D

In this episode Jon shows 5 ways to get different sounds out of the mics you already have. Ryan shares his experience with the Yamaha PM5D digital mixing console.

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2 thoughts on “Show 021 – 5 ways to get more out of your mics and the Yamaha PM5D

  1. Hey guys, I love your show. I wanted to comment on the review of the Yamaha PM5D. A long time ago, when I first began working in a professional recording studio they had two rooms. One had an SSL E series and the other had a Euphonix console. Being an analog guy, I always worked in the SSL room due to the learning curve on the Euphnoix. Some years later, while working for a post production studio, we built a new room and purchased a new Yamaha DM1000. Needless to say I was stumped, until the tech who bought the board basically explained to me how it works. It’s just a bunch of inputs, outputs, faders and knobs that you have to tell what to do. So unlike an analog console, you can’t just walk up and adjust EQ with a knob, you have to tell that knob what it is by using the internal software. Immediately I felt like an idiot all those years later thinking that the Euphonix was just a crappy way of routing signal. The DM1000 was great, I could store settings for VO and ADR recordings, and things like phone patches and ISDN lines. Plus, I now had a control surface for ProTools, and it’s hard going back to a mouse after that. I’ve never used a PM5D, but it probably similar to the other digital consoles they have like the DM1000 or DM2000.

    Thanks again for producing a great show. I’ve been in the business for awhile now and you still come up with great reviews and topics. You’re never done learning in this business.

    Keep up the good work.

    Jesse Zoller

  2. Hey podcasting bunnies!

    Great show guys! I’ve been loving the topics you’ve been coming up with. The DIY ribbon mic thing was great. When I have time {HA!} I’ll definitely be looking into trying that out.

    The mods to a dynamic were great too – dunno if I’ll do anything to my 58, but maybe I’ll check out some really cheap dynamics.

    Don’t know if I agree with ya on the “first place to treat a room” being the behind the performer.

    I’d want to be dealing with the first early reflections first – coming off the walls in front of and beside the performer as well as the floor and ceiling above and below.

    By the time you’re dealing with the reflections coming from behind the performer, the sound wave has bounced off at least two surfaces and depending on the materials and shape of the room, the wave has either been absorbed (and attenuated significantly), phase inverted or scattered. You’ll most likely have more significant problems coming from the first early reflection points than the secondary, tertiary or other reflections coming off the back wall.

    I’ve had great results with building makeshift absorption panels that go directly behind the mic in a semi-circle – made of three auralex-like panels (1′ x 1′). They take a HUGE amount out of the early reflection problem – even in rooms with extremely hard reflective surfaces surounding the performer.

    But, guys, that being said, whatever works to your ears and gets ya paid … that’s the best way to go! 😉

    Cheers, and keep up the great work!

    Dave

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