Recording Handbook - Hol.gr

good mic) and you're halfway there.
Adapted from tstrohma@theodolite.ae.calpoly.edu (Trevor Strohman):
It happens all too often. A group is looking for great sound on a
limited budget. They go to the music store and see all the glitzy
4-tracks and other recorders. Maybe they have deeper pockets and go
straight for an ADAT. Then they need a microphone. Microphones, not
having the sizzle factor of the recorders, are last on the list, and
there's only $50 left. They leave with a digital recording studio and
a Radio Shack tie-clip microphone.
They get home and plug it in. The features work just like they did in
the store, but the sound isn't quite right. So they go back with more
money. They still skip the mics, and go for compressors, equalizers,
reverbs. They have a little money left over. This time they buy a
Shure SM57.
They go back and try it out. Neat sounds! Not quite like the CDs,
but it sounds pretty good. They want more. They go back to the
store... the cycle continues.
Of course, there will always be this cycle with musicians looking for
the perfect sound, but you can get to the perfect sound a lot faster
if you invest in microphones first. As they say in computing, garbage
in, garbage out. No effects can compensate for a terrible microphone.
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