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MIC REVIEWS
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johnny1000
pluggin' in mics


Joined: 18 Nov 2008
Posts: 32
Location: New York

PostPosted: Thu Apr 14, 2011 4:26 pm    Post subject: Re: MIC REVIEWS Reply with quote

Just acquired a Shinybox 46u, the newest model w/ the custom wound transformer. I've so far tried it on bass, acoustic guitar and male voice, through both a Great River ME-1NV and a Duet.

It's really smooth sounding, with a midrange that can really only be described as "creamy." The highs don't go into the stratosphere, as you would expect from a ribbon, but it takes eq really well, you can get stuff sounding bright without getting harsh.

So far, I'm really digging it. The only other ribbon mics that I have any real familiarity are: Beyer M130, RCA 44DX, and Royer 121, and while it doesn't sound especially like any of those, it definitely holds it's own.

I'm psyched. Plus the shock mount is great, so bonus there.
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willvis
audio school


Joined: 23 Apr 2007
Posts: 9
Location: nashville

PostPosted: Tue Oct 18, 2011 11:31 pm    Post subject: cascade fat head II lundahl transformers Reply with quote

i bought a pair of these on craigslist today for 500 bucks. it's not a steal or anything, but boy do i like them, so far, on acoustic guitar, mellow male vocal, banjo, mandolin, resonator guitar, tambourine, electric guitar and boxy cheap ladder braced acoustic guitar---a 50s Kay. the fat head II's with the lundahl trans also seem to tame my living room---wood floor, plaster walls, usually way too bright and live. they're great.
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tonewoods
buyin' a studio


Joined: 17 Apr 2004
Posts: 849
Location: Orcas Island, WA

PostPosted: Fri Jan 20, 2012 11:10 am    Post subject: Re: MIC REVIEWS Reply with quote

Tried out a new prototype of an active ribbon at the Cascade booth yesterday at NAMM, and was very impressed...

Nice and juicy sounding with symmetrical patterns, and the nulling ability of the mic was just sick...

Will be grabbing one somewhere down the line...
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tonewoods
buyin' a studio


Joined: 17 Apr 2004
Posts: 849
Location: Orcas Island, WA

PostPosted: Fri Jan 20, 2012 11:10 am    Post subject: Re: MIC REVIEWS Reply with quote

Tried out a new prototype of an active ribbon at the Cascade booth yesterday at NAMM, and was very impressed...

Nice and juicy sounding with symmetrical patterns, and the nulling ability of the mic was just sick...

Will be grabbing one somewhere down the line...
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"You see, the whole thing about recording is the attempt at verisimilitude--not truth, but the appearance of truth."
Jerry Wexler
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pandemic
pushin' record


Joined: 26 Jul 2004
Posts: 227
Location: Asheville NC

PostPosted: Sat Feb 18, 2012 7:23 pm    Post subject: Superscope EC9P Reply with quote

Superscope EC-9P. This mic was made from the mid 70's to the mid 80's by Sony and is the newest addition to my now meager microphone collection. It is a small diaphragm condenser powered by a 1.5v AA battery (more on that) and it seems to have a home in some studios around the world. I picked mine up for about 25 dollars shipped and was pleasantly surprised by it's size and overall build quality when I got it. It is not a small microphone, much bigger and heavier than the pencil condensers put out by AKG, Shure and all the Chinese knock off's floating around. The body unscrews revealing a battery compartment and a small plastic compartment which houses a capacitor, a resistor and a transformer. The microphone has a switch on the outside (OFF-M-V) for shaping the tone (I could not hear a difference between M and V) and a small switch in the battery compartment for a -10db pad.

I tested the microphone with a fresh 1.5v AA battery into the stock pre amps on my KORG D32XD. The Korgs pre's are pretty generic sounding if not a little bright and forward. The mic was pretty quiet as I brought the gain up but not whisper silent. This could pose a problem with quiet instruments. The sound has a nice roundness to it that is a welcome departure from the harsh brittleness of Chinese condensers but could also be considered a little rolled off or veiled in the highs. This was true for both the M and V settings and is just a first impression from my highly scientific means of testing......singing into the microphone......awfully. I think the tone of the mic might work on bright or metallic sounding instruments as the high frequency roll off smooths out the top end nicely. More testing is in order....

I also plugged the EC-9P into my modified Shure M268 microphone mixer for a quick test. The overall fuzzy-ness was exaggerated by the pre's in the Shure but again the sound was not bad. I was going back and forth between a Blue Blueberry LDC which seemed sort of "in your face" and the more mellow sounding Superscope. The Bluebird was hotter, more present and had a very forward midrange sound but the Superscope was rounded and pleasant to listen too. I am eager to try the EC-9P on a drumset. I think a pair as overheads would be nice or even one as a hihat or ride cymbal mic. These could be nice for an overly bright acoustic guitar as well (although lower output and higher noise floor may rule that out).

One last note about the Superscope EC-9P. It does run on phantom power. I tried it with both the 30v simplex power on the Shure mixer and with 48v on the Korg. No Smoke! The higher voltages may mean a better noise floor and higher headroom as well. I am currently on the hunt for another (at a great price!!!) and will let you know how they do as overheads.
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Rosy
ass engineer


Joined: 21 Nov 2011
Posts: 41
Location: Fayetteville AR

PostPosted: Tue Jun 26, 2012 1:14 pm    Post subject: Re: audix OM5 Reply with quote

xonlocust wrote:
while on tour, my rock band was having tons of trouble getting the bass players vocals to cut before feedback in the monitors. night after night we had the same unbeatable problem - the gtr players were arguing with the soudguys for more gain than they could give (not the soundguy's fault either most of the time, usually physical limitations of the system).

midway through the tour we picked up an OM5 and the difference has been night and day. i know there are other reviews around the net that cover it more throughly - but this mic has made a huge impact for live work. every venue we come to is excited when we pull the mic out and says they wish they had more of them. just as everyone else says, same source and PA, much more gain before feedback. completely worth the money if you find yourselves bartering with the soundguy for more vocals in the monitors. it makes their job easier and yours as well.

http://www.proaudiosuperstore.com/audix-om5.html

the singers also get up on the mic more because it's thier own and hasn't been manhandled and spit into by hundreds of bands before us. for not THAT much more than a 58, i wonder why more regular touring singers don't own thier own mic. the bass player said she wishes she had done this years ago and it's been one of her best musical purchases to date. especially in the DIY world when you're dealing with a peavey powered head and 2 15" cabinets or whatever, the difference is significant. how many times have you heard "turn the vocals up" from someone - when the soundguy (or you if you are the soundguy) just can't push it anymore? now you can.
for studio use, i dunno. haven't had a chance to use it, but a lot of you are in bands too so i thought this would be useful. one of the best "non-sexy" gear upgrades for loud rock band use i've seen.

nick

It's a novel idea that the singer should own their own mic but only because the answer is, Yes, they should own their own mic.

Also, the OM5 is not bad.
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vvv
zen recordist


Joined: 13 May 2003
Posts: 6816
Location: Chi

PostPosted: Mon Jul 16, 2012 2:51 pm    Post subject: Re: MIC REVIEWS Reply with quote

I been buyin' up cheap mic's, what is Evilbog fun, not too 'spensive, and groovey to use.

AKG's: D1000, D310, D2000 - these is good so far on BV's and prob'ly on guitars and certainly on snare.  They are Austrian-made, chrome or aluminum and indestructible works of mechanical art - cheap big fun.

EV: I scored a RE320 (foreign-born, meant to succeed the RE20 what is still made) for under US$200 and it's a awesome large dynamic what I so far have just loved on BV's - soon on kick what it has a EQ setting for.  I have a 365A what is a omni and rules on BV's, just beautiful, and will prob'ly be good on some amps.  I just won a RE10 for US$60 what is s'posed to be a real vocal sleeper.

Shure!: SM63L, another omni, I love omni's on BV's.  Soon, I predict I will probably love them on amps.

CAD: M179. In my considered opinion, one of the best under US$200 condensors.  I got 2 used around US$90 each w/shock-mounts.   They are infinitely variable pattern, and sound good on everything, great on voc's, and have a rep as excellent (I haven't tried 'em yet) on toms.  I just gotta ST100 peizo what I bought because it's already phantom-powered and XLR, I'll report back on, for US$44.

ADK: I have a A51 v.V and it is incredible on vocals.  Said to be designed re the AKG C14 and the Nuemnann U47 I have no reason to agree or disagree about - I just think it kills on lead vox. US$90 with a buncha other shite (pop-screen, shock-mount, C5 SDC w/ clip, cable).

Sennheiser: mo' money, mo' fun.  I have a MD421 II at sompin' under US$300, it's my main vocal mic, so far, 'nuff said.  Now, I recently rec'd a white 421N (Tuchel) for a similar (lucky!) price what may replace it.  I gotta E602 for US$190 what is awesome on kick, and useable (with EQ) on vocals - I love large dynamics.  I recently gotta E504 (black 604) and my search for floor tom mic'ing is done - I haven't even been tempted to try the Audix F10 I have here.

MXL: I find these worthy at half the list price or less.   I have two 1006's because my first condensor was one and I used it for vocals for a cuppla years.  I bought the fecund for OH's, but never used 'em as I went with SDC's.  MXL144 ribbons are my go-to room mic's (nice and trashy, fairly mid-rangey w/out cymbal splash) and fecund for guitar amps (I prefer my modded off-brand NOS R2, what is like a ShinyBox or Apex.)

Studio Projects; C5's, nice SDC's, accurate and cool on OH's, better and faster than the BG 2.1's but I think I may have to relegate 'em to other duties, mebbe acoustic guitars.

Audio-Technica: The AT4040 has been my fave condensor for lead vox for years, altho' it can be a touch pop-n-spitty.  But I recently gotta 'nother one and tried it for OH's a cuppla days ago and, well, I ran outta Kleenex.

Behringer B1: I got drunk one night and ordered one up thinkin' it was the Studio Projects B1, and it ain't horrible.  I mean, if ya find one under US$50 you'll have scored a totally competent, un-exciting but aiight LDC.  (Kinda like other stuff scored while drunk.)

Samson C02: a variable pattern LDC, I love it for drums on figure-8 in the basement's bathroom doorway. It seems, somehow, appropriate there.

Beta 5: good for snare and live vocals. It has amazing rejection, much better than the standard 57/58 altho' I think it sounds a bit different than them, a bit brighter but also somehow a bit more compressed, denser ... Again, I got "lucky" and paid about US$80 for it in near new condition.

MXL 9000: (US$125 used) what is my first tube mic. I haven't used it a lot on vocals as I have been exploring the subtleties of various preamp/compressor combinations and this is most definitely a colored sound. That said, I really dig it on rhythm electric guitar - it gives a very nice, beefy and professional sound to small amps when place a couple feet back, rounds off the hi-end a touch and makes the part feel solid and substantial.

Sennheiser MD21 - I like this for BV's, and it's cool on electric and acoustic guitars. I think it's a large dia. dynamic, sounds like it, but closer to a '57 then a MD421.

AKG D310: already had a nice one, this one is beat up, and came to me not working; a steady hand and a hour with new wiring and solder and it's now cool - nice for where ya might wanna '57, ver' cool on snare.

Telefunken TD20: looks cooler than it sounds, not that it's bad, just kinda lo-fi; I think this prob'ly came with some kinda tape deck, altho' it is XLR, it's hard-wired.

Radio Shack 33-1070: manufactured by Shure, this one came to me absolutely stinking of ciggies, so bad I can't stand to use it. I have cleaned it up well, and it's been wrapped a cuppla weeks with some charcoal; I'll hafta report back.

Audio Techica AT802: now, this is cool! It's a AT dynamic, and it's omni, and it's very clean and fast, compliments the Shure 503n and EV 635 I have for omni-flavorfullness; I love it on BV's and as a room mic.

Shure 545: a earlier variation on the '57, it came with a Tuschel cord, very, very nice on amps.

Peavey PVM520i: I had heard these were similar to a SM7b and it kinda is but brighter, faster, and it clicks the "k's" a bit more.

Audix F10: supposed to be a tom mic, it's only fair there and on snare, but kinda cool and dark on vocals.
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