"Jim Lesurf" wrote in message
...
In article , Iain Churches
wrote:

"Dave Plowman (News)" wrote in message
...


But,. as mentioned above, they did not meet anyone' expectations in pop
recording, due probably as you say to the familiarity with infinite
baffled and ported enclosures. In addition, one gained the impression
that the ELS was much too fragile for a Ginger Baker bass drum:-)

They can be OK for that - but only at limited sound pressure levels in a
small enough room. So not a very 'safe' choice for such a task I guess in
pop studios.


Much depends on the recording engineer's routine and way of
working. Most have mics rigged and tested and the desk set up with
all routing established before the players arrive. We were taught to
place the faders at about unity gain, but turn the mic presets to minimum
to prevent "surprises"

I certainly would not take a chance with them, any more than I
would use a high-value condenser mic at the other end of the chain,
inside and within 2cms of the front head the bass drum:-)


Hence suitable for careful home use, but probably not for use
at sound levels that try to match the orginal for such a source. :-)

Agreed. I would be terrified of using ELS on anything but the most
gentile and dignified of Baroque sessions:-) But I can see they they
might/could have a place in mastering facilities or listening rooms.


Iain