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Author Topic: Recreating Mike Millard Analog Recording Set-Up: AKG 451E CK-1 > Nakamichi 550  (Read 4088 times)

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Offline heathen

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Definitely gotta' see some photos of this rig in action.  Looking forward to hearing it as well!
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Offline Gutbucket

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Congrats on getting this together and making it happen!

whassamatter- you didn't feel like sneaking the 550 in under a wheelchair? Not until you do it that way will it be a TRUE Millard recording!      >:D         ;)

Just kidding- Awesome that you were able to make it happen and get the permission of the band to do it.

^I was about to joke about this before I saw rock's post.  Yet beyond the joking aspect, it illuminates what I consider to be rather large elephant in the room-
Stereo microphone configuration has as at least as much if not more influence on the sound of the recording than much of the signal chain.

How did Mike Millard configure the microphones?  Do we know?  Armpits?

Traditionally, tapers did not document the microphone configuration they used very well, if at all.  It's odd that signal chains are often noted in detail (including the types of cables and interconnects), while microphone configuration is rarely mentioned.

A Ferrari straight off the showroom floor, tuned for the street and trips to the lingerie store, is not going to handle like or be able to compete with the exact same car tuned for the track.  Same parts, same signal chain, but entirely different setups producing very different results.

The other, even bigger and more basic thing is recording position.  However, I suspect that's expected to be different, and folks are generally aware of sonic differences with regards to recording position.  By contrast, not many think of microphone setup in the same sense, if they are aware of the variabilities and the effects on the recordings at all.

Very much looking forward to hearing these recordings at some point.  Please note the microphone setup used as well as the recording position in the notes if you can.  Also, because of the admirable efforts made in duplicating this historic taping signal chain, I encourage you to note all setup differences between these recordings and the historic ones as clearly as possible, to the extent that you are aware of them.  Otherwise folks will easily overlook both these elephants, consumed with details about the mice running around their feet.
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Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline JEMS

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Here's a shot of the rig in action on Night 2 of the National at the Greek Theatre in Berkeley


Offline twatts (that "Pants" thing is so lame...)

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How did Mike Millard configure the microphones?  Do we know?  Armpits?


If I had to guess, I'd say he ran the mics at his feet, and just pointed them at the stacks.  Being "handicapped", he wouldn't have been able to move his legs.  And he was probably put it an elevated position, up off of the floor, so he may have had good sight-lines.  And running his mics at his feet would free up his hands to do "normal" stuff like you would do at a show, thus not causing any suspicion... 

But its totally a guess...

Terry
***Do you have PHISH, VIDA BLUE, JAZZ MANDOLIN PROJECT or any other Phish related DATs/Tapes/MDs that need to be transferred???  I can do them for you!!!***

I will return your DATs/Tapes/MDs.  I'll also provide Master FLAC files via DropBox.  PM me for details.

Sony PCM R500 > SPDIF > Tascam HD-P2
Nakamichi DR-3 > (Oade Advanced Concert Mod) Tascam HD-P2
Sony MDS-JE510 > Hosa ODL-276 > Tascam HD-P2

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Offline JEMS

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https://streamable.com/zvn9o

Brief video. I will write up more on the whole experience. We taped just behind the GA section as the same level as the soundboard, right next to it in fact.

Offline twatts (that "Pants" thing is so lame...)

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How did Mike Millard configure the microphones?  Do we know?  Armpits?


If I had to guess, I'd say he ran the mics at his feet, and just pointed them at the stacks.  Being "handicapped", he wouldn't have been able to move his legs.  And he was probably put it an elevated position, up off of the floor, so he may have had good sight-lines.  And running his mics at his feet would free up his hands to do "normal" stuff like you would do at a show, thus not causing any suspicion... 

But its totally a guess...

Terry

Hat...

https://kernelmag.dailydot.com/features/report/6498/the-tragic-tale-of-a-legendary-concert-taper/

Terry
***Do you have PHISH, VIDA BLUE, JAZZ MANDOLIN PROJECT or any other Phish related DATs/Tapes/MDs that need to be transferred???  I can do them for you!!!***

I will return your DATs/Tapes/MDs.  I'll also provide Master FLAC files via DropBox.  PM me for details.

Sony PCM R500 > SPDIF > Tascam HD-P2
Nakamichi DR-3 > (Oade Advanced Concert Mod) Tascam HD-P2
Sony MDS-JE510 > Hosa ODL-276 > Tascam HD-P2

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Offline dactylus

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Thanks for the link Terry!
hot licks > microphones > recorder



...ball of confusion, that's what the world is today, hey hey...

Offline Gutbucket

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^ Good find! 

And thanks for the video link, JEMS
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline rocksuitcase

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Wow, thanks for the link Terry. I had known his story but this article summarizes and tells it in a very compelling manner.
music IS love

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Offline JEMS

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Over the years, I have had the chance to speak to three people who knew Mike Millard personally or met him on more than one occasion. While the kernelmag story/link provides some good details on Millard, it also perpetuates some myths.

After speaking at length with Millard's friend Bill, he shared the following which I thought might be worth posting here:

Mike taped many more shows than we know and years earlier than we know, though his own high standards may have prevented "lesser work" from being given out.

Through the help of one of his friends, Mike was typically able to get exactly the seats he wanted and get security to look the other way when the gear came in.

He didn't always use a wheelchair.

Millard was anti-bootlegging and was in fact offered a significant sum for one of his Springsteen tapes, which he turned down.

Bill confirmed that he was with Millard on occasions where he did indeed record with two sets of mics on two recorders.

Bill cannot remember exactly when he learned of Millard's death, but he believes it could have been a year or even two after 1990, which internet stories claim is the year he died. Pinning his death to 1990 may simply have been the result of there being no known Millard recording after that year. Bill also told me that, contrary to legend, Mike was not an introvert or a loner at all, nor paranoid or distrustful, but someone who had a close group of friends with whom he shared a love of music and to whom he graciously and frequently gave copies of many of his recordings.

Offline Gutbucket

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Thanks for sharing those insights.

Back in the late 90's through early 00's there was a doppelganger Mike Millard here in South Florida who did helicopter traffic reporting for the local public radio stations.  At the end of his segments he'd sign off with a throaty "This is Mike Millard" which would always bring to mind the taper.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline JEMS

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