Please refer to the aricles below before you proceed with this one.
The Testing Method
Nearly all of the manufacturers made recommendations for getting the most out of their mics, in specific applications. Only one of them made suggestions for microphone placement technique for the recording process. (For more information on microphone techniques, please read the previous articles, or visit www.dpamicrophones.com.)
The "fair comparison" test consisted of comparable mics in the same position, in the same configuration, on the same source. All manufacturer's recommendations were recorded at this time.
The "unfair comparison" consisted of using dissimilar mics, in the same configuration, on the same source. I did this, because most of us have to make mics work in an unintended application, in a pinch.
The sources recorded were:
80's Baldwin Grand Piano
6 and 12-String Acoustic Guitars
Trumpet-Duet
Reed/Horn Ensemble (Saxophones, Trumpets, Trombones)
Oboe
Male and Female-Soloists (in various ranges)
Male and Female-Duets
Mens Ensemble
Mens Choir (80+ voices)
Choir (70+ voices)
The Spoken Word
Contemporary CCM Band (drums, bass, guitars, keys, vocals)
The review sessions went well. We are all still friends. (Some people get quite frazzled during the recording process. I know of some musicians that will not even go into the studio building that they have recorded in.) Historically, equipment reviews have been edited through rose-colored-political-correction lenses. This is not true here.
During the week that we recorded, Oklahoma had a record number of tornados. If we didn't have a few tornados in the air, it was just storming big time. Fortunately we received no damage. We were not able to record all of the intended sources. We did do enough to call it complete.
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Experiencing Worship, The Study