Gear choices for didgeridoo recording
This is one tricky chapter, as I am not really commercial person, and yet I would like to share this aspect. So some names will inevitably show up and be aware that I am in no connection to them, apart that I use equipment of some of the names. And some I enjoy very much.
BASSics
Since I don’t know the level of recording knowledge – didgeridoo related or not – of the reader of this text, I would start with some very basic explanations. If you are an experienced recording engineer, just skip this part, and if you are very experienced, skip the whole text =)
This is a rough scheme of how di(d)gital recording and post recording process go.
Sound source in our case is didgeridoo.
Mics are really straight forward devices. Mics can be dynamic or condenser, or ribbon. Some basic knowledge about it: http://en.wikipedia.org/wiki/Microphone
More about difference of LDC (large diaphragm condenser) and SDC (small diaphragm condenser), dynamic and condenser mics, sensitivity, polar patterns and much more, in this highly recommended text: http://www.dpamicrophones.com/en/Microphone-University/Lite.aspx
Preamps in short serve the purpose of amplifying level of mic to be appropriate for further processing, for example recording. They have their own character(istics) and that is a very strong point.
AD (analogue-> digital) converter converts the analogue electric signal into series of 0s and 1s which are understandable to the machines known as computers. And computer is a computer. Lazy robot that doesn’t walk, but constantly calculates something.
There can be more options in the chain of didgeridoo recording, but this is the most basic one, and this is the one we had constantly.
In the post recording process one wants to tailor the sound of didgeridoo to a certain measure. Compressors adjust dynamic level, EQs adjust frequencies, summing mixer puts many channels into two, DA converter puts the sound from 0s and 1s into analogue cable…feel free to google it if you are interested.
My personal recording history
To get the real idea what was going on in the background of Kosmopterix (my2009 solo didgeridoo album), our story has to go few years back.
My demo CD was recorded with one vocal dynamic microphone and, I think, a Creative soundcard, something like e-mu 0404. I also had some no-high-end (euphemism) Alesis mixer I half used. At that time it was all another world to me that I did not understand. I almost did not want to take any part in it – now I close my eyes and play – and you do the buttons. But soon after it was recorded, and I listened to it, I realized I will have to get involved. I don’t use this equipment anymore, well, I do use mixer for the rehearsals, but I do not consider this equipment as a waste of money. I look at that as sort of paying a didgeridoo sound school.
The next step was a better microphone. Best buy at that time in that area was Rode K2. So I took my chances with it. And I was amazed at the difference. On Rode K2, and a Tascam card, almost whole album „Iz dubina besvjesnih“ was recorded. So I found K2 to be useful, but it alone could not bring in The Sound. I was still only very little involved in the sound making – still I think this was another logical step in my school of didgeridoo recording. Total investment around 1000€. Good for amateur recordings, demo CDs etc…
But now things grew bigger and bigger, I was playing more and more, what you would call „professionally“ – earning for life, feeding the family, so the next jump was exponential in a way. I was feeling frustrated how I can’t get it sound right. I record and expect the rhinoceros running out from the speakers, and a little mouse comes out. Squeaks and goes back in. For Kosmopterix I really wanted to make a difference, so I cleared a large space for it and started. From scratch, with big willingness to learn.
I borrowed every piece of equipment that made sense and tested it. I have made not hundreds, but thousands of recordings. It took me months to do. I have read about it before, in books, on forums, about microphones, preamps, converters, EQs, compressors, summing mixers… but only after trying them things started to make sense.
The GEAR LIST
Here I want to mention gear I have chosen for recording, and I would give some useful links. If I find an appropriate way, I will attach some gear test so you can make judgment for yourself. I was looking in vain for a list like this before recording Kosmopterix, so I hope it will make somebody happy as it would make me happy if I had found it when I needed it.
MICs
My main mic was inspired by the new Calexico album (Carried to Dust). Sound was so good, rich, warm, juicy, that I had to ask for advice a recording artist from Wavelab studio. He proposed a ribbon microphone, and in the end it was a ribbon mic by Royer, model R122V.
I also needed stereo microphones to give „wings“ to the recording. After a lot of research, and many listenings, my choice was Schoeps Mk2.
I was still using Rode K2 for some detail or mouth/nose sounds capturing.
Other than that, I was also using Neumann KM 184 for same/similar purpose.
I was using Oktava’s m12s for many purposes, from close up „bass“ mic to acoustic object micing. Or even as „wing“ microphones when the Schoeps would go to Yr for guitar or to Ritosha for piano. Royer R122 was another great „bass“ mic. I used Blue’s „Mouse“, Rode’s NT 55s, some Geffell mic I don’t remember the model, some AKGs… But those were not really up front.
PREAMPs
I have had a long search for preamps…
The two main preamps were Thermionic Culture Earlybird 1.2 and Forssell Technologies Smp-2 . I realized how good preamps (like these) can make your mic sound as it was a class better. Other preamps we used were Presonus ADL 600, Focusrite red 6, and preamps found in Prismsound Orpheus.
COMPRESSORs
Audio Design Recording Scamp, I think these ones
EQUALIZERs
Some old Neumann equalizers… I forgot which… Then Red Focusrite, Blue Focusrite…the rest I don’t remember…=)
CONVERTER
Prismsound Orpheus – Very very nice sound. I was amazed how it lifted everything to a new level- the clarity, the depth, the airiness…
SUMMING MIXER
Thermionic Culture Fat Bustard was a right choice of name in every aspect.
Reverbs, sound FX
Main reverb on whole album is old EMT plate reverb
Sound FX came from two Ursa Major; Space Station and 626 I think.
AKG BX-15 Spring reverb
AKG BX-20 Spring reverb
It might be that I forgot, or deliberately didn’t go into details to make this readable, but I believe you get the picture.
But, I was not alone.
I had really tremendous help from guys at Mercenary Audio. These guys are unbelievably knowledgeable and helpful.
I got great help from fellow Slavic Man, Mr Ivo Sedlaček of Velvet Mastering and Velvetstore – specialized in fine acoustic recording/production and offering adequate high end equipment.
I got local support from dear people at Audio Pro in terms of mics, preamps, cables, converters, and general support… -thank you Sven, Jaki and Zoki.
And the one who put his back for me the most, my dear friend Igor from ZI Lighting;
You are very determined people reading to this point – do you know that?
In the next chapter; how you can add or subtract few thousand Euros of the value of your equipment just by centimeter movements of microphones.
Be happy!
Du