Olympus CS-11 or whatever's the new version. Recorders: Korg MR-2, Edirol R-09HR (or whichever new version there is of it).
0404 has phantom power for condenser microphones, 0204 at last check only worked with dynamic microphones. "Don't bother with anything less than 96/24" is the rule. Sound interfaces: E-Mu 0204, 0404, Roland Tri-Capture.
PHOTOSOUNDER SPLINE EQ SOFTWARE
$25 if lucky, and you can correct its frequency response with Photosounder Spline EQ, which is an essential software tool anyone ought to have (it's $20, too).
The D-40 is more sensitive and works wonders on drums and brass instruments and pretty much anything except maybe cymbals.Įxtra-cheap dynamic: Shure SV100. People will always push the Shure SM57 for instruments, get the D-40 instead. This is an instrument microphone however, it may give weird results with vocals. Cheapish $100 or less dynamic which works wonders for percussion and a lot of instruments. That said, here're some recommendations, aside from the Zoom thingies (which Tony Iommi & Geezer Butler use, so they can't be bad).ĭynamic microphone: AKG D-40. Obviously you'll get better results with a real pocket recorder (Zoom, Korg, Roland/Edirol, Olympus, etc.) rather than just using a camera or, say, a phone for recording. Look up reviews of the thingie, it's apparently quite popular with the video crowd, might not be perfect for serious recording though (see warning above). you can get one for $30 and attach it to a camera or anything with the right cable adapter, the microphone is battery-powered. Search EBay for EM-320, it's a cheap Chinese AT OEM (clone?) shotgun.
The recorder could be anything, some people use little electret shotguns with photo cameras like Panasonic Lumixes for recording video. Preferably battery-powered, and a recorder to go along with it. And then another fellow who plays the guitar and sings in a band slammed his Behringer mixer for falling apart on him. That's not a general rule, but as an example a fellow who records his own band recommended Yamaha C-series mixers against Behringer mixers, saying the Behringer kit colours the sound something nasty. Meaning, Behringer kit tends to fall apart fairly quickly and is not quite up to it. And stay away from Behringer, that company often copies other manufacturers' designs at low costs (translation: using cheap bottom-quality parts). So you end up buying the expensive mikes and dumping nearly as much, or at least half the expensive price, on cheaper stuff.īottom line is, usually it is safer to go with the more capable and expensive kit and never worry about the cheaper stuff unless it's worth it and everyone's buzzing about it. Then it turns out those microphones have flaws which are critical to the kind of work you're doing. Then you dump money on the medium-priced microphones. The issue here is, you begin with a cheap microphone, then you quickly find out it's not quite up to the quality of the stuff that's out there (and the interface/mixer/recorder is capable of better quality, obviously). This is a classic question with an expensive answer.
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