Modeling Microphones? Antelope? Townsend Labs? Slate?

Am I the only person who flat-out prefers iLoks and eLicensers to every other copy protection scheme I've used?

Well, it's actually second behind Reaper's tactic of "don't bother with copy-protection or even nerfing unlicensed versions; put out a good product for a fair price and the vast majority will pay for it."

ETA: WTH!? The ML2 is only $150? How the heck does it expect to do what it does at that price?

Pretty sure someone would buy a pair of those tiny condenser mics. Isn't that how most
people use those---such as in an overhead, or room mic, config??

In the past I have bought small diaphragm condensers like that and they came as a pair.
 
Hi all, I'm interested in townsend but my room is untreated, there's lots of furnitures around and it's not echoey. Wondering which would be a better choice townsend or sm7b?
 
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Hi all, I'm interested in townsend but my room is untreated, there's lots of furnitures around and it's not echoey. Wondering which would be a better choice townsend or sm7b?

I'm not all that convinced that the mic choice matters for this particular thing. I hear it a lot too. But, the mic will capture some amount of dynamic range that's probably almost always more than enough to capture some room echoes.

Plus...live rooms aren't traditionally all that dead. Vocal booths and iso rooms are, but that's also partially because they're necessarily small because they're also generally sound proof. If the room is big enough that the echoes sound like echoes/reverb, rather than comb filtering, it isn't really a problem...it's just a live-sounding room. And traditional recording often involves omni-directional room mics specifically to capture the natural reverb of the room.

IDK....I'm very much not an expert on recording, but it seems like that particular thing is actually fairly low on the list of priorities for mic choice. At worst, it seems like you could get a vocal shield or some freestanding traps to use as gobos if you do have problems with comb filtering and just play with exactly where you put the mic and performer/source if you don't like the reverb sound that the mic captures. It won't sound the same as a really great live room, but it should be possible to get very good recordings that way.

IMHO, the whole natural, flat, mostly-dead sounding thing is more important for mixing & mastering rooms than live rooms.
 
I see, I'm hoping to get close to studio quality in a bedroom setting and thus have been told the safest choice is the sm7b. Appreciate your input!
 
I see, I'm hoping to get close to studio quality in a bedroom setting and thus have been told the safest choice is the sm7b. Appreciate your input!
I get that.

I just don't quite agree that the setting determines mic preference. I prefer at least the idea of choosing the mic you like and then making the space work. As good as the SM7b is, it's not a magic talisman against a bad room.
 
I get that.

I just don't quite agree that the setting determines mic preference. I prefer at least the idea of choosing the mic you like and then making the space work. As good as the SM7b is, it's not a magic talisman against a bad room.


That sm7b is an amazing mic on cabs. But it's literally just an sm57 with some bells and whistles.
 
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