Once upon a time I read that several people who really know their way around a mixing console mix with their microphones. That makes a lot of sense in my philosophy:
1. YOU CAN’T FIX IT IN THE MIX
I try to record my stuff the way I want it to sound later on. You can do a LOT with fx, but you can’t fix everything. I have a vocal track that is just the performance I wanted, but I must have set up the mic the wrong way round and now I have to redo it because there is no way I can make it fit in the mix like this. I tried all kinds of eqs and rooms, to no avail. boohoo.
2. MICROPHONES CAN BE EQs
Today I recorded the verse of a song with a sct-800 through a uad preamp, and the chorus with a rode nt-1a straight into my rme babyface. The latter was a lot brighter, and so the vocals stood out in the chorus and blended in in the verse without any additional eq on the track they share. Horay!
3. PLACEMENT MATTERS
I wrote a song the other day, and I need to record an acoustic guitar for that, and this time I will set up two microphones, each close to one of my ears, because up here my guitar sounds great. Seriously, fuck dogma. I wonder if that will work, but from my experiences in the last weeks everything is possible.
4. YOU CAN FIX IT IN THE MIX
I managed to record some of my guitars all too well. My Furch Jumbo has lots of treble, and 2 Neumann condensers in xy record that treble very accurately. In strum parts that can sound unbearably harsh, and I was afraid I might even have to re-record those guitars one more time, but with a dreadnought and some tube mics to keep the treble at bay… And then I just made a high cut at 15k and pushed 2k by 4 db and the problem was solved. Once more, fuck dogma.
Especially if it’s your own.