AndrewChapmanCreative Digs Into Gear Myths

Microphone Madness: The RE20 Revealed

Ever wondered if a microphone can be as iconic as a radio show? In Andrew Chapman’s latest YouTube video, he dives into why the Electro Voice RE20 might just be as cool as Frazier Crane himself. This mic isn’t just for kick drums; it’s a secret weapon for bass cabs and surprisingly, vocals. Andrew breaks down the lore behind the RE20, noting its dynamic design while also flaunting the clarity expected of a condenser mic. He shares an anecdote about big names—think Tom York and Stevie Wonder—using it for vocals, adding a pop culture twist. But the catcher? It works or it doesn’t for vocals; you’ll need to test it yourself. Andrew’s insight? Underrated in the vocal department, though not necessarily the go-to for everything else.

"Although it's great to see those pros using those mics, there's only one pro that I think of when I think of the RE-20. And that's Frazier."

Tascam 424: High Price, Nostalgic Delight

"It feels predatory."

Is paying $600 for a Tascam 424 MKII just another blunder in the wild world of recording equipment? Andrew’s nostalgia kicks in as he reminisces about the days of fiddling with this sweet piece of audio gear. This box has become the darling of some musicians, not for its massive sound quality but for its guitar pedal-like capabilities. He nods to McGee’s unique use of it in creating crunchy, distorted tones. Yet, with a return to the vintage vibe of home recording, Andrew brings light to the sentimental value these machines hold. His story of daisy-chaining mixers and making multi-tracks in a garage will get your hip-hop heart racing. However, $600 feels like a daylight robbery; he reckons $150 is the sweet spot.

DBX 160X: The Diamond in the Rough

Andrew Chapman dives into the DBX 160X, highlighting its once dime-a-dozen status in the studio world. He fondly remembers using various models, including the 160A and XT, in his early days interning in the studio. These compressors, known for their smooth, neutral sound, become secretly sought after as other producers catch wind of their magic. At $229, they’re potential gems, delightful even when church-owned. Andrew’s hint for the scrappier music maker? Snag one for under $200 if you can. His insider appreciation for the tool, coupled with the allure of their scarcity, makes them an underrated addition to any studio setup.

SSL Ultraviolet EQ: A High-Priced Treat

When Andrew Chapman gets onto the topic of the SSL Ultraviolet EQ, he dives deep into what makes this piece tick. This device’s ability to elevate mix buses caught Andrew’s eye, and he’s keen to explain why. It’s not just about smoothing out audio or adding sparkle; this EQ transforms sonic palettes like a master chef spices a dish. Priced at the higher end, $800 might seem steep, but Andrew offers the context, noting its origins as part of a bigger SSL setup. He knows the drill of using such gear on instrument bus mixes, detailing how the Ultraviolet can sweetly tailor those highs and beef up the lows, which can be a game-changer. Despite the steep cost, he brands it underrated, a tool demanding respect in the right hands.

Rough Ride with Rode and Audio Technica

Not all microphones are stars in Andrew’s book. While he appreciates quality sound, he calls out the Audio Technica AT-897’s harshness, offering alternatives that won’t burn a hole in your pocket or your eardrums. Rode mics, in contrast, get Andrew’s thumbs up, mixing value with solid audio delivery. His personal favorite? The Rode VideoMic NTG, providing bang-for-buck that shakes the competition. Andrew dives into why tones matter more than brands, emphasizing trying before buying. Despite all that glitters, those gold-marked frequency responses don’t fool Andrew, as his ears remain loyal to soulful sound rather than branding bling.

Warm Audio WA-84: Near Miss with a Twist

Chasing the elusive Neumann sound without the price tag? Look towards Andrew’s take on Warm Audio’s WA-84 small diaphragm condensers. They’re advertised as close replicas, but Andrew digs into why they don’t fully mirror the revered Neumann KM84s. While they fall short of the full Neumann charm, they still deliver in spades. A real-world run-through shows them rounding out the crisp highs and depth expected from higher-end mics. He appreciates their value, suggesting patience in comparing them to the pricier originals. Like any budget beat maker knows, occasionally indulging in these kinds of gear is about getting within spitting distance of the real thing.

Vintage Finds: Yamaha PM-2000’s Underrated Brilliance

Andrew Chapman is smitten with the Yamaha PM-2000 console, deeming it an underrated beauty. ‘Built like tanks,’ he says, these consoles boast incredible preamps, rivaling those of much pricier boards. Andrew paints a vivid picture of studio shoots where the Yamaha stood tall against elite names like BAE. Adding a dash of humor, he jests about the console’s wiring looking like an art project gone wild. Not bothered by the lack of gold cables, Andrew dismantles that myth, emphasizing how real sound magic lies in heart and soul, not the conductor metal. For Andrew, it’s not just gear; it’s a character-filled member of any studio family.

"Gold is not some superior conductor. It actually doesn't conduct as well. The only thing that it offers is corrosion resistance."