Summer Cats played a show in Seattle this past summer. What a shame that more people didn’t know about it since it was such a good show in an incredibly hot house. Unfortunately for the Summer Cats, KEXP started playing the heck out of their latest release after their Seattle appearance. Then maybe more people would have shown up, a bigger venue announced, a longer set played…who knows?
In June is probably my favorite song released last year. Yeah, I know. I like lots of songs and bands, but for an officially released song from 2009, In June might have to be it (favorite undiscovered song I heard last year was They’re There by Cosgrove that was released in 1997 on a compilation CD–Is this the only Cosgrove song in existence?). I could listen to this song over and over and over again. Actually, their whole CD is fab. If you want to listen to an incredibly wonderful CD, pick up Songs For Tuesdays. You won’t be disappointed.
Over on the fantastic Tullycraft website almost daily a song is posted with whatever thought or event was written about that day. The songs range from bands covering Tullycraft songs, to Elastica, Neil Diamond, and even the Smiths. I even found a new current fave from the posts last year when I stumbled across Nana Grizol and it seems that Torsten can’t get enough of that band.
Over the last week or so, some real Tullycraft gems have emerged and the songs are fantastic. I wonder what other gems are lying around on the floor of their recording studio..hint…hint…hint.
But more importantly is the live song from their first show that was put up. The quality is fantastic and makes me wonder, what was I doing on that night years ago? Why didn’t I get tuned into Tullycraft sooner and why did I take such a hiatus from them? I truly wish I could have been there all those years ago. I’m hoping there is some way that I can get the whole show. I’ll have to try and convince Sean that one song wasn’t enough.
Here is the review that was posted on the Tullycraft site. I hope it is OK to use:
Better news is that Tullycraft is playing a show the day after I get back from southern Utah and I’m excited. It will be my first time being inside the new Crocodile Cafe and it will be my first Tullycraft show of the year 2009–since I didn’t go to Portland back in February. April 4th…I will be there!
OK, so after solving or at least believing that I’ve solved the reason why my mic was having difficulties with the loud levels, those SPL’s will get you every time. You can read about this on my updated post. I think I’m going to go with the Rode StereoVideoMic. It costs more, but since I’m selling some extra mics I have, won’t really end up costing me much in the end. The funny thing is, I was actually considering this mic at one time until I saw the new SP-PSM-8 from Sound Professionals. If I had just gone that route to begin with, then I wouldn’t have been able to excite you with all this mic talk. So, it is a good thing. I also would not have purchased the mic when I did. Of course, I will still talk about mics as I have a Nevaton post coming soon.
Here are the specs for the Rode:
Power: 9V battery powered
Acoustic Principle: Pressure gradient
Directional Pattern: Super Cardioid
Frequency range: 40 Hz – 20 kHz
Output impedance: 200Ω
Signal noise ratio: 74 dB SPL (A – weighted per IEC651)
Equivalent noise: 20 dB SPL (A – weighted per IEC651)
Maximum SPL: 134dB SPL (@ 1kHz, 1% THD into 1KΩ load)
Maximum output voltage
Sensitivity: -38 dB re 1 Volt/Pascal (15 mV @ 94 dB SPL) +/- 2 dB @ 1kHz
Weight: 288gm
Dimensions: 65mmH x 170mmW x 102mmD
Don’t even think about asking me what it all means because I don’t know! I always let others help me with all these terms and stuff! I just try to act like I know what is going on!
Here is what the Rode website says about it:
Now videographers can use true ‘studio’ stereo recording techniques in the field with ease. The X/Y configuration enables the StereoVideoMic to capture the true ambience of the recording space, while still offering a high level of rear rejection and low noise. Fitted with a shoe mount, the StereoVideoMic has the same low noise circuit design as the best selling VideoMic. The StereoVideoMic offers 9V battery operation, an LED battery status indicator, high pass filter switch, and a -10dB pad switch which allows for the mic to be used on most cameras with perfect level control. You can also use the StereoVideoMic as a remote mic on a stand, or a RØDE boom pole (optional), which truly makes this versatile product well suited for all video applications including Electronic News Gathering (ENG), Weddings, Sports Events & Interviews.
Stereo X/Y Condenser Microphone
Broadcast Sound Quality
Low Noise Circuitry
Two step High-Pass Filter – Flat or 80Hz
Rugged cast aluminium body
Custom designed integral windshield
Low handling noise
9V battery powered
Integrated camera-shoe mount
Here are some pics:
As you may have read, I replaced my Sony ECM-909a microphone (used with my video camera) with the SP-PSM-8. I really thought there would be a huge improvement in sound quality over the Sony mic. The Sony mic isn’t bad, but it sure doesn’t sound as good as Schoeps, DPA’s, or even AT mics.
Honestly, after I read this:
“Finally, an all-in-one handheld stereo microphone with built-in power that offers excellent sound quality and a wide dynamic range. If you have been using the Sony MS907 or similar stereo mic, this mic will make you want to list your old mic on Ebay! It sounds better (much better bass and highs), can handle loud sounds better, is more sensitive for those quiet situations, and will take care of everything in-between, too.”
I thought my mic problems would be solved and I wouldn’t have to take months (years) to sync up a better audio (since I’m so lazy).
Listening to the two Nana Grizol shows I filmed last week, I was disappointed with the sound quality of the mic. It sounds as if the mic was overloading, yet levels weren’t bad as I have an attenuator that I bought from Sound Professionals to lower the sound levels.
As you can see there is a volume control range. I’ve used it in the past to successfully control the levels with the Sony mic, but not now. I’ll have to post some samples on here of my disappointment.
I think I should call/get a hold of Sound Professionals and let them know of my disappointment. I hope I don’t need some secondary device to run inbetween the camera and the mic as then I just have more bulk. I was really hoping this mic would work! It appears that I can return it. At least, I don’t think I’ve had it for more than 30 days. I will have to check the receipt when I get home.
So, my new microphone for the video camera arrived yesterday. I ordered it before my $50 Verizon card came through, but I was able to transfer the $50 from the card to the bank account so it is a mute point. First thoughts, it is bigger than I thought it would be especially compared to the Sony ECM-909a microphone I was using with the video camera. The diameter is the same as the sony, but the length seems about twice the size.
So, I put the two mics next to each other and it is about twice the length! That doesn’t bother me too much as when I film I usually have prior approval from the band. I’m hoping to be able to use it this week at the two Nana Grizol shows. Not hearing back from a band doesn’t necessarily mean they don’t allow filming, it just some times means they haven’t responded or simply been too busy. Sometimes the band isn’t even reading their messages, it is read by someone associated with the band and I’m guessing taping requests are just not taken as seriously. So, hopefully I can find a member of the band before the shows and be given the go ahead.
The cable that comes with it is an XLR to 1/8″ ra stereo mini-plug. I’m going to have darktrain from taperssection head over here and give me a quote on how much it would cost to have him make another bad ass cable like the others. I’m thinking a straight male stubbie would be perfect for this. I’ll be writing another post, possibly tonight, updating my cable situation from an earlier post I did.
As you can see the mic is also a bit tall. So, I want to use the old mic attachment that came with the Sony mic. The one problem is the end of the mic attachment is beveled in such a way that the mic doesn’t slide all the way through. I’m going to ask my buddy Lee if he can help me dremel that out or something. I’m sure there has to be an easy way to do that. I hope.
I’ve been using a Sony ECM 909a mic as an external mic when I film concerts. It’s not bad and does alright, but I want something better with a bit more vibrancy to the music.
I’ve noticed that Soundprofessionals has a new stereo microphone. It’s the SP-PSM-8. I’m kind of interested in it as it is only $100 for the rest of the week. As we know, I’ve been saving my money for some Nevaton’s, but the end of last month was brutal in regards to saving money. So, I’m going to try and pick up this mic with my Verizon $50 card that is supposed to be coming back (that shouldn’t bite too deeply into next month’s plans to possibly pick up the Nevatons). I just need to figure out if Soundprofessional’s will take two different cards. If they do, I think I’ll get it, if not, then I probably won’t. Plus, Soundprofessional’s has the nice 10% off for taperssection members. not bad at all!
Here’s a picture of the mic:
I’m starting to get ready for a new taping set-up. I haven’t been 100% happy with my tapes lately and know that I can do better. I really want to run DPA4022′s, but that will likely never happen due to cost. So, I want to build a rig that runs Nevaton MCE 400′s>Aerco MP2>iRiver. The Aerco MP2 probably isn’t happening any time soon, so I’m thinking of going Nevaton MCE 400′s>Denecke PS2 (cable mod)>iRiver. Here’s a pic of my new cable.
Here’s some pics of the Aerco MP2.
