@DuskY1991 Thank you! The QTC40's have been around for some time, but they really are a standard for recording instruments because of their detail and clarity. We were VERY happy with how they performed for us!
I'm curious, how one Earthworks omnidirectional microphone would sound with a drumset if it was placed between all drums. I'm aware of that, using only one microphone isn't the best way of recording a whole drumset, but I really hope, that it may work surprisingly well with e.g. the TC20 for recording amateur videos while being on a budget.
@sinewave100 All things considered, we don't consider them to be all that noisy although there is definitely that belief on the street... it really just depends what kind of work you are doing. Did you find them to be noisy in this application? Acoustics are a pretty quiet source. The thing is, the smaller the diaphragm, the more prone to noise a microphone is, which is why they have successfully taken extreme care with the QTC series (quiet time coherent), to make them as quiet as possible.
Regarding the mic's shape - If I'm not mistaken, the unique shape helps with a more uniform omni pattern, specifically for high frequency sound reaching the mic from the rear direction. A larger mic body would cast an acoustic "shadow," based on the wavelength of the frequency hitting the case of the mic (part of the concept of wave diffraction). So, keeping the body as thin as possible allows the mic to pick up higher frequencies as evenly as possible from the back.
@Celticsaint777 If you have just one microphone, the same kind of miking technique as a single cardioid microphone tends to work best, however, with an omni, in order to eliminate the room, you will have to get closer. Maybe as close as 4-6 inches from the neck of the guitar. The point at which the body meets the next is a good starting point for most instruments, but using your ear is a must for every instrument/room combo, and these are just rules of thumb. Does this help?
@Celticsaint777 Yes, up close, this will do a very nice job. In a bad room, omni's have a trade-off- while they do pickup sound off-axis, since they don't exhibit the boomy bass proximity effect when you get close, they enable you to get closer to the instrument, and still pick up a nice, truthful, and organic sound out of the instrument. If you aren't interested in a stereo image, they will do a very fine job for you in mono. 12th fret angled towards the body is a good starting point.
@DuskY1991 My personal opinion would be that the type of music and vocalist will have a big influence on the "standard" microphone. For acoustic singer/songwriter type music a Neumann U47 or U67 can be a great microphone for that specific application. While a Vintage U47 can cost $10,000.00 or more, there are some fantastic clones that cost a fraction of that. To specifically answer your question, I think a "standard" microphone really does depend on what type of music.
@doproductions2008 Yes, very well put. Bass frequencies, due to the length of the wave, have less of a problem with directionality and omnis than do higher frequencies with shorter wavelengths that are therefore more direction- this unique mic shape does attempt to address those issues. And, frankly, whether it is the shape of the body, or the capsule, most likely a combination thereof, these QTC40's do exhibit a wonderfully neutral performance all around the microphone.
@Celticsaint777 A pair of spaced omnis will provide a sense of three dimensionality, size, and most importantly stereo image. The sound can be similar between the mics, but the different in time will create a stereo image- alternatively, with more creative or aggressive stereo positioning, you can make the stereo image more dramatic and large by picking up different tonal areas of emphasis based on your positioning. The QTC30 is a nice mic, and owning 2, or a QTC40 pair would be excellent.
@Celticsaint777 A second microphone would allow you to get better shared placement between the two, hopefully avoiding this low end mud that you are getting, and if you are recording acoustic guitar in isolation, the stereo image will make the guitar sound much larger, and much more three-dimensional. The difference between mono and stereo acoustic guitar is a major upgrade in sound quality. You can start with hard panning and micro-placement, and likely get amazing results that way.
It does help somewhat. If I point at the 12 fret around 6" or less it sounds very good without a capo. However if I use a capo I need to move down towards the headstock by a couple of frets, around the 10th fret. With an omni 6 inches is basically the same amount of direct sound at using a cardioid at about 10 " isn't it?? In a decent sounding room would placing the mic around a foot in front of the 12th fret sound best?
@tecnolover2642 Mostly out of habit- Because all of the small-diaphragm mounts that we have in our recording studios are shock-mounts (since most microphones, but not the Earthworks do require them), and many of our mounts are already attached to stands. It's much faster and easier to place a microphone on a stand that already has a mount attached to it. These mics do not require shockmounts, as we stated in the videos because their handling noise is so low.
@Celticsaint777 While you can mix and match microphones, it is not typically how A-B stereo omni miking is done. Typically, the microphones are the same, but there is no reason that with some creativity, the QTC30 and QTC40 could not be used together in a single pseudo-stereo setup.
Ok I'm finding in my room I gotta get close and more around the 10th to 12th fret to avoid too much bass and I usually have to notch out some mud at around 160 Hz. WOuld another QTC40 around the bridge area greatly improve my overall recording? If so should I then just pan one track hard right and one hard left? I love the QTC40 on vocals too. I just use a pop filter and the foam wind filter.
@soundpurestudios I'll be sure to pick up a stereo pair someday, for recording acoustic guitar! Is there a standard for vocal mics too (beside the U87 and it's friends)?
@dannycurtean We know, right! The QTC40's simply sound amazing on great instruments, and we have used them for location recordings as well with fantastic results. Thanks for the comment!
@sinewave100 The Playing at 8:14 is with the EW preamp, and we also have an Earthworks preamp video as well. TH-cam won't let me post the link in this space, but if you search for Earthworks 1021 in TH-cam, or video comes up first. We use the EW pre with several different microphones in the preamp vid, so be sure to check it out!
@soundpurestudios How close do you recommend if the room is not the greatest? A couple of inches away? Where would you start? So angling towards the guitar body makes it warmer sounding? I've noticed when I use a capo I need to put the mic more around the 10th or 11th fret so I don't get a muddy sound bass. Any advice on recording strummed acoustic guitars in a not so great room with a QTC40 is greatly appreciated. Thanks!
With these omni mics wouldn't using two mics sound very much like just doubling one mic? Also would it sound good to use a QTC30 with the QTC40 for stereo recording?
Will one QTC40 sound good up close to the 12 fret on a dreadnaught for recording in a not so great sounding room? I have a small studio that is bass trapped etc. but it doesn't sound like a pro studio. I have an omni SHure sm80 and it sounds good in this room and better than my shure sm81 cardioid. Will a single up close sound good?
Spaceships? The neck is thin to prevent distortions. This would come from the side sources being reflected by the front of a thicker neck surrounding the capsule. The fatter base is for the circuit.
Jesus! Who is the guitar player? Unbelievable playing!
Wow, awesome player
They sound surprisingly good for close mic'ing as omnidirectional microphones.
I really enjoyed this and will be sharing this video! Well done!
@DuskY1991 Thank you! The QTC40's have been around for some time, but they really are a standard for recording instruments because of their detail and clarity. We were VERY happy with how they performed for us!
I'm curious, how one Earthworks omnidirectional microphone would sound with a drumset if it was placed between all drums. I'm aware of that, using only one microphone isn't the best way of recording a whole drumset, but I really hope, that it may work surprisingly well with e.g. the TC20 for recording amateur videos while being on a budget.
Outstanding playing!
That's some outstanding sound!
Great video ... understandably the QTC40 has very little if any handling noise but what type of shock mount are you using here?
@sinewave100 All things considered, we don't consider them to be all that noisy although there is definitely that belief on the street... it really just depends what kind of work you are doing. Did you find them to be noisy in this application? Acoustics are a pretty quiet source. The thing is, the smaller the diaphragm, the more prone to noise a microphone is, which is why they have successfully taken extreme care with the QTC series (quiet time coherent), to make them as quiet as possible.
Regarding the mic's shape - If I'm not mistaken, the unique shape helps with a more uniform omni pattern, specifically for high frequency sound reaching the mic from the rear direction. A larger mic body would cast an acoustic "shadow," based on the wavelength of the frequency hitting the case of the mic (part of the concept of wave diffraction). So, keeping the body as thin as possible allows the mic to pick up higher frequencies as evenly as possible from the back.
@Celticsaint777 If you have just one microphone, the same kind of miking technique as a single cardioid microphone tends to work best, however, with an omni, in order to eliminate the room, you will have to get closer. Maybe as close as 4-6 inches from the neck of the guitar. The point at which the body meets the next is a good starting point for most instruments, but using your ear is a must for every instrument/room combo, and these are just rules of thumb. Does this help?
@Celticsaint777 Yes, up close, this will do a very nice job. In a bad room, omni's have a trade-off- while they do pickup sound off-axis, since they don't exhibit the boomy bass proximity effect when you get close, they enable you to get closer to the instrument, and still pick up a nice, truthful, and organic sound out of the instrument. If you aren't interested in a stereo image, they will do a very fine job for you in mono. 12th fret angled towards the body is a good starting point.
@DuskY1991 My personal opinion would be that the type of music and vocalist will have a big influence on the "standard" microphone. For acoustic singer/songwriter type music a Neumann U47 or U67 can be a great microphone for that specific application. While a Vintage U47 can cost $10,000.00 or more, there are some fantastic clones that cost a fraction of that. To specifically answer your question, I think a "standard" microphone really does depend on what type of music.
@doproductions2008 Yes, very well put. Bass frequencies, due to the length of the wave, have less of a problem with directionality and omnis than do higher frequencies with shorter wavelengths that are therefore more direction- this unique mic shape does attempt to address those issues. And, frankly, whether it is the shape of the body, or the capsule, most likely a combination thereof, these QTC40's do exhibit a wonderfully neutral performance all around the microphone.
@Celticsaint777 A pair of spaced omnis will provide a sense of three dimensionality, size, and most importantly stereo image. The sound can be similar between the mics, but the different in time will create a stereo image- alternatively, with more creative or aggressive stereo positioning, you can make the stereo image more dramatic and large by picking up different tonal areas of emphasis based on your positioning. The QTC30 is a nice mic, and owning 2, or a QTC40 pair would be excellent.
@Celticsaint777 A second microphone would allow you to get better shared placement between the two, hopefully avoiding this low end mud that you are getting, and if you are recording acoustic guitar in isolation, the stereo image will make the guitar sound much larger, and much more three-dimensional. The difference between mono and stereo acoustic guitar is a major upgrade in sound quality. You can start with hard panning and micro-placement, and likely get amazing results that way.
It does help somewhat. If I point at the 12 fret around 6" or less it sounds very good without a capo. However if I use a capo I need to move down towards the headstock by a couple of frets, around the 10th fret. With an omni 6 inches is basically the same amount of direct sound at using a cardioid at about 10 " isn't it?? In a decent sounding room would placing the mic around a foot in front of the 12th fret sound best?
@tecnolover2642 Mostly out of habit- Because all of the small-diaphragm mounts that we have in our recording studios are shock-mounts (since most microphones, but not the Earthworks do require them), and many of our mounts are already attached to stands. It's much faster and easier to place a microphone on a stand that already has a mount attached to it. These mics do not require shockmounts, as we stated in the videos because their handling noise is so low.
@Celticsaint777 While you can mix and match microphones, it is not typically how A-B stereo omni miking is done. Typically, the microphones are the same, but there is no reason that with some creativity, the QTC30 and QTC40 could not be used together in a single pseudo-stereo setup.
Ok I'm finding in my room I gotta get close and more around the 10th to 12th fret to avoid too much bass and I usually have to notch out some mud at around 160 Hz. WOuld another QTC40 around the bridge area greatly improve my overall recording? If so should I then just pan one track hard right and one hard left? I love the QTC40 on vocals too. I just use a pop filter and the foam wind filter.
@soundpurestudios I'll be sure to pick up a stereo pair someday, for recording acoustic guitar! Is there a standard for vocal mics too (beside the U87 and it's friends)?
What is the difference between an Earthworks omnidirectional microphone like the QTC 30 and a measurement microphone like the M30?
@dannycurtean We know, right! The QTC40's simply sound amazing on great instruments, and we have used them for location recordings as well with fantastic results. Thanks for the comment!
@sinewave100 The Playing at 8:14 is with the EW preamp, and we also have an Earthworks preamp video as well. TH-cam won't let me post the link in this space, but if you search for Earthworks 1021 in TH-cam, or video comes up first.
We use the EW pre with several different microphones in the preamp vid, so be sure to check it out!
@soundpurestudios How close do you recommend if the room is not the greatest? A couple of inches away? Where would you start? So angling towards the guitar body makes it warmer sounding? I've noticed when I use a capo I need to put the mic more around the 10th or 11th fret so I don't get a muddy sound bass. Any advice on recording strummed acoustic guitars in a not so great room with a QTC40 is greatly appreciated. Thanks!
With these omni mics wouldn't using two mics sound very much like just doubling one mic? Also would it sound good to use a QTC30 with the QTC40 for stereo recording?
Will one QTC40 sound good up close to the 12 fret on a dreadnaught for recording in a not so great sounding room? I have a small studio that is bass trapped etc. but it doesn't sound like a pro studio. I have an omni SHure sm80 and it sounds good in this room and better than my shure sm81 cardioid. Will a single up close sound good?
wth??? Why did you put it in a shockmount when you just said it didn't need one?
Spaceships? The neck is thin to prevent distortions. This would come from the side sources being reflected by the front of a thicker neck surrounding the capsule. The fatter base is for the circuit.
They are thin at the top for treble and fat on the bottom for bass, and tapered in the middle for all of the rest.
I'm kidding.
Bad phase issues.