Comments on: Show 30 – The T-Pain effect and Condenser Mic Fallacies http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/ Tips and tricks in home recording, microphones, monitors, mixer, Pro Tools, preamp, headphones, studio Tue, 07 Feb 2012 17:36:11 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: stever http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-115 stever Thu, 04 Jun 2009 15:42:57 +0000 http://www.homerecordingshow.com/?p=251#comment-115 OMG you're right!!!! thanks to you guys, you inspired me to try to fix my broken SM57 by myself instead of sending it in...and it worked! i was so proud of myself. just needed some solder and wire. keep up the great work! OMG you’re right!!!!

thanks to you guys, you inspired me to try to fix my broken SM57 by myself instead of sending it in…and it worked! i was so proud of myself. just needed some solder and wire. keep up the great work!

]]> By: Ryan http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-114 Ryan Thu, 04 Jun 2009 10:27:14 +0000 http://www.homerecordingshow.com/?p=251#comment-114 Did you see the Historical Footnote? In the original article, the producers did not want to give up a trade secret. STOP PRESS! Historical Footnote Cher's 'Believe' (Dec 1998) was the first commercial recording to feature the audible side-effects of Antares Auto-tune software used as a deliberate creative effect. The (now) highly recognisable tonal mangling occurs when the pitch correction speed is set too fast for the audio that it is processing and it became one of the most over-used production effects of the following years. In February 1999, when this Sound On Sound article was published, the producers of this recording were apparently so keen to maintain their 'trade secret' process that they were willing to attribute the effect to the (then) recently-released Digitech Talker vocoder pedal. As most people are now all-too familiar with the 'Cher effect', as it became known, we have maintained the article in its original form as an interesting historical footnote. Did you see the Historical Footnote? In the original article, the producers did not want to give up a trade secret.

STOP PRESS! Historical Footnote

Cher’s ‘Believe’ (Dec 1998) was the first commercial recording to feature the audible side-effects of Antares Auto-tune software used as a deliberate creative effect. The (now) highly recognisable tonal mangling occurs when the pitch correction speed is set too fast for the audio that it is processing and it became one of the most over-used production effects of the following years.

In February 1999, when this Sound On Sound article was published, the producers of this recording were apparently so keen to maintain their ‘trade secret’ process that they were willing to attribute the effect to the (then) recently-released Digitech Talker vocoder pedal. As most people are now all-too familiar with the ‘Cher effect’, as it became known, we have maintained the article in its original form as an interesting historical footnote.

]]> By: stever http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-113 stever Thu, 04 Jun 2009 07:45:58 +0000 http://www.homerecordingshow.com/?p=251#comment-113 apparently cher's effect was not a pitch corrector? http://www.soundonsound.com/sos/feb99/articles/tracks661.htm love the show keep it up! apparently cher’s effect was not a pitch corrector?

http://www.soundonsound.com/sos/feb99/articles/tracks661.htm

love the show keep it up!

]]> By: Tubamark http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-99 Tubamark Sun, 03 May 2009 03:53:41 +0000 http://www.homerecordingshow.com/?p=251#comment-99 If anyone's worried about matched mikes, consider this: Your ears aren't even matched!! Don't believe it? Try this simple test (you must have good relative pitch abilities): Get somewhere real quiet with a tuning fork (the ol' A=440 works well). Strike the fork & listen with the fork very close to one ear. Now try the other ear. Alternate a few times as needed. What do you discover? It should be impossible. Still unconvinced? Just go get a run-of-the-mill hearing test. Nobody's ears match in frequency response/sensitivity. I'm not sure that un-matched mics are "better", BUT I'm definately NOT convinced that lab-matched mics make any meaningful difference. Phase, amplitude, and reasonably similar "color" are all that's required. --Tubamark If anyone’s worried about matched mikes, consider this: Your ears aren’t even matched!!
Don’t believe it? Try this simple test (you must have good relative pitch abilities): Get somewhere real quiet with a tuning fork (the ol’ A=440 works well). Strike the fork & listen with the fork very close to one ear. Now try the other ear. Alternate a few times as needed. What do you discover? It should be impossible.
Still unconvinced? Just go get a run-of-the-mill hearing test. Nobody’s ears match in frequency response/sensitivity.
I’m not sure that un-matched mics are “better”, BUT I’m definately NOT convinced that lab-matched mics make any meaningful difference. Phase, amplitude, and reasonably similar “color” are all that’s required.
–Tubamark

]]> By: ZoomForum http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-93 ZoomForum Thu, 30 Apr 2009 02:46:16 +0000 http://www.homerecordingshow.com/?p=251#comment-93 Another good show. I'll have to go listen to all of them now. You guys are doing a good job. Another good show. I’ll have to go listen to all of them now. You guys are doing a good job.

]]> By: Famous Patrick http://www.homerecordingshow.com/2009/04/show-30-the-t-pain-effect-and-condenser-mic-fallacies/comment-page-1/#comment-79 Famous Patrick Thu, 09 Apr 2009 04:52:21 +0000 http://www.homerecordingshow.com/?p=251#comment-79 Thanks for another entertaining and informative show, although the "T-Pain effect" is probably something I'll never use. I bought the Recording Engineer's Handbook a couple of years ago; at that time, I understood less than 10% of what I read. Now, I would say that I'm up to 50% comprehension. Still, a very handy reference that I reach for often. I have a question you might want to address on the show. I can choose to have the meters in my DAW (Sonar) show Peak, RMS, or Peak & RMS. I see that Reaper has the same choices, so I assume it's fairly common. The question is, what is the difference between these choices, and in what situations would I benefit from using one instead of the other? You guys always inspire me to lay down some tracks. Thanks. Famous Patrick Thanks for another entertaining and informative show, although the “T-Pain effect” is probably something I’ll never use.

I bought the Recording Engineer’s Handbook a couple of years ago; at that time, I understood less than 10% of what I read. Now, I would say that I’m up to 50% comprehension. Still, a very handy reference that I reach for often.

I have a question you might want to address on the show. I can choose to have the meters in my DAW (Sonar) show Peak, RMS, or Peak & RMS. I see that Reaper has the same choices, so I assume it’s fairly common. The question is, what is the difference between these choices, and in what situations would I benefit from using one instead of the other?

You guys always inspire me to lay down some tracks. Thanks.

Famous Patrick

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