OK, I made a demo tonight to demonstrate that even with a noise gate in place, the room effect on any mic that has a pretty broad polar pattern can affect the quality of the recording - in this case it's a CAD M-177 LDC. It's a single pattern version of this mic: http://www.cadaudio.com/M179.php Quite typical Chinese made capsule, assembled in USA.

Here is the link to the .mp3 file http://rockstarnot.rekkerd.org/misc/demo...20place.mp3.mp3
It's a few minutes long, just me narrating what the recording environment is; first sitting in front of my DAW - about 24" from the computer screen, getting up and then speaking in my 'booth' which is an open clothing closet, with a GOBO that is adjacent to the open sliding door of the clothes closet, with 4" deep wedge material on it - which I garbage picked over a few months, then walking out into the hallway outside the 'studio' then into the bathroom across the hallway.

All the while there is a noise gate on the mic signal, which shunts very low level sound, but passes all sound above the trigger level. I have also high-passed the signal at about 150 Hz, which is sort of where I like to HP filter my vocals, to keep them from being 'tubby'.

Note that when I'm in the home made 'booth' the high and mid frequency reflections are basically eliminated. This is not a treated room, but I have taken precautions to try to eliminate reflective surfaces in the vicinity of the mic - which is all that the reflexion filter which costs quite a pretty penny, is doing.

It's easily accomplished with clothing and some elbow grease, and just eliminates one more hassle in the recorded signal. I can sing quiet, and loud in this 'booth' and not have significant interaction with the reflective surfaces in the room.

Not trying to sell Auralex or Primacoustic or any other supplier's foam here. In fact the opposite.

Last edited by rockstar_not; 04/01/13 09:02 PM.
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