yessir

[slowlygrowl]

similar to a previous post
and many before and after
but
like many me poor
am looking to spend 100 bucks on large diaphragm for all purpose vocals
and acoustic guitar

am looking at
mxl v67g
studio projects b1
and at AT 2020

bang for buck and not so noisy.

also in a related topic
if i wanted a stereo pair how does that work
must they be paired or just buy two
and do people pair large condensors or just small.
questions, questions.
thanks for any help.

[inverseroom]

I'd say get the MXL. I love mine.

[slowlygrowl]

oh yeah for the above mics
i guess im asking for any opinions or to be steered in a certain direction
which one should i pick?
thanks!

[mjau]

Another vote for the v67 - just seems to work pretty well and lots of things. You'll get more out of that mic than lots of other $100 mics out there.

[JASIII]

Doesn't MXL have a new LDC out that supposed to sound like a tube mic, but isn't? I've heard good things about it and I don' t think it's too expensive. I've heard those AT 2020's are great too for the price.

[inverseroom]

I saw an ad for it. If I didn't have the v67, I would have scoffed at the "valveless valve" thing, but hell, I'm curious...

[Phiz]

if i wanted a stereo pair how does that work
must they be paired or just buy two
and do people pair large condensors or just small.

I can't think of a type of microphone that can't be used in some sort of stereo pair configuration. The size of the diaphragm is mostly irrelevant to stereo mic techniques. (Some stereo mic configurations ideally have the diaphragms as close together as possible. Smaller diaphragms allow you to get closer to this ideal. Thus any finitely sized microphone pair will have some high frequency weirdness above the frequency defined by twice the distance between the diaphragms. But you shouldn't worry about such things unless you are doing very clean recordings of classical music with lots of high end.) However, outside of the topic of stereo recording, you'll probably see different frequency responses for LDCs vs SDC with the SDCs having a tiny bit more response on the very high frequencies, due to the lower mass of their diaphragms. In a digital recording environment, the loss of a little high end with an LDC might be seen as an advatange, as it will work to reduce some of the harshness common to digital recordings.

The prevailing logic on buying factory paired microhones vs two random boxes of the same model, is that for all but the cheapest of microphones you can just buy two random boxes and you'll get quite good results. For something like micing rock drums it really won't matter. If you are trying to do an accurate recording of jazz or classical music off of just a stereo pair, then maybe the factory pairing will pay off with a slighly noticable improvement.

And I will explicitly note that the Oktava brand of microphones has been known to have quality control problems, and thus you shouldn't expect to get good pairing between two random boxes.

[syrupcore]

another v67g vote.

[inverseroom]

Where's rodgre? He's the one who got me into that mic.