In this short additional video Ian Thornley talks with Mitch about his favorite microphones – in studio and live. Hope you enjoy!
i’m mitch seekins the vocal coach
welcome to part two of my interview with
ian thornley from big wreck
this is an additional segment to the
main interview that i did with ian
thornley which is posted here. In this
segment we talk about microphones in the
studio and live if you enjoyed this and
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this is something for the tech guys out
there uh do you have a preference on
microphones when you when you tour
or in the studio?
um yeah i mean in the studio we use all
kinds of different things but generally
got that elam one that nick rascalinics
had was great
but certain mics will sound great on
your voice in certain ones
right …yeah of course
i’ve blown up some mics in in
in my day but
even mics that were were like famous
mics that other famous singers had used
they’re like this is … this is
so-and-so’s mic it’s gonna be awesome
they put it in front of me and it makes
it to like about halfway through the
song but i’m not a particularly loud
singer i mean it’s probably louder than
somebody who’s singing you know
standards but but yeah
um like there’s there’s chad for
instance is probably the loudest singer
i’ve ever heard wow
it’s twice as loud as me and i’m pretty
loud
uh but generally speaking it’s i we we
tend to lean towards 87 it’s like a Neumann u87and
for a long time it was it was uh u47s
like
sort frank Sinatra used
but i think that’s it’s a bit warm and
tubby the 47
for
for one voice like it’s those were
designed to record an entire room like
like a band or an orchestra or whatever
but it is a very detailed it’s great but
87s just have this little
this little rip on top that i tend to
that i tend to like and it helps cut
yeah i think that’s what our first
record was done on and it’s something
that just kind of
just kind of gone back to yeah um yeah
and even sm7 i got uh i got sm7s here
like those are great for demoing because
they do they do a similar
you know live it’s a uh
not just 58 but the beta 58 which again
has this little bump in the upper mid
which helps just helps me with my
in-ears and helps me uh get pitch and it
cuts through the mix
it’s just a nice mic there’s nice
clarity on the top because i use the 58
for years and then they came up with the
beta 58 and it’s like oh
it’s still a war horse
yeah they don’t go down
exactly that’s great we’ve had some
great mics over the years um
and some of them are like some of the
really high five ones i find don’t
they don’t work the same for me they
don’t and especially for you know a loud
rock band it’s yeah you need you need to
it’s you know you go back to what what
works yeah and a 58 or certain in my
case the beta 58 is that’s money yeah
exactly much less back to that
you know i’d love i love trying all this
different stuff because so-and-so uses
blah blah blah they’re amazing so it’s
got to be great you know
they could give me a 1959 sunburst les
paul i’m not going to sound like jimmy page
yeah so i just kind of go with what
works yeah exactly um
beta 58 is great and 87’s in the in the
studio i mean
they’re not they’re not cheap but
they’re not terribly expensive yeah you
know they’re not like a four you 47s are
like 15 17 grand elams are ridiculous
but yeah you know you can’t go wrong
with an 87.
cool
thanks for doing this man
all right