Advice needed on my Mic Closet, what am I missing????

[jdmcgee]

I guess you answered your own question...

I guess the question I'm asking more than anything is, can anyone think of anything I could benefit from that I don't have in the closet already...

Points taken:

More high dollar mics - I personally think this is a semi-valid point except for the fact that I've used a number of expensive mics (Neumann, AKG & others) in the past that just plain sucked. Is spending more money on a mic a guarantee that it's going to be amazing, no. Is there a better chance of it being amazing, yes! but from a Neumann rep in my old Guitar Center days, "About 95% of a High-End mic's price is it's name & heritage. A lot of producers & studio owners think of them like status symbols... you have to have them to get the big clients.". I never was much for status symbols... I just like good sound.

Plus, I don't mind "re-engineering" the cheaper mics. It's getting easier & easier to take a $200-$400 mic, $200-$400 in parts & get $2000-$3000 (or more) sounding mic. Some people out there consider it to be polishing turds but I disagree and so do a lot of other people's ears.

MD421 - I concur that I need to get a couple again just in case somebody asks for them and plus, they are very predictable.

SM7 - I've been looking for a good deal on one (or 2) of these for the past few weeks... & still am

Outboard Gear (i.e. mic Pre's) & Room Acoustics - I 100% agree that these are as important (if not, at times, more important) than the mics you're using. I'm very happy with my signal chain & my room's sound.

Any more ideas?

Thanks, jd

I don't really understand the point of your post.

You asked for some advice, you got some and you've responded by saying that you don't think you need that advice. It seems to me you're happy getting low to low/mid level mics and modding them so that you and a lot of other people's ears are satisfied.

The Neumann rep was right about some mics (I guess) but wrong about others. It's just foolish to suggest that that 95% of the price of an expensive microphone is unwarranted. You yourself say that there's evidence of higher quality in a $3000 mic than in an unmodded cheap one.

So, I can think of a few mics that I would like to have in the $700-$1200 range but I'm not sure that'd satisfy you. Why not just keep getting cheapo mics, fixing them to your satisfaction and then enjoying the results?

= Justin

PS - Really, your post is confusing. You say you want to get an MD 421 because people expect them. But you also say you don't care what client expectations are because you don't care about status symbols and only like good sound.

Justin,

Sorry if my replies came across as pompous or if at anytime my replies were dismissive of suggestions other people posted... that was never my intent. If I did I apologize.

I started this thread in hopes of getting some recomendations of mic brands/models I might benefit from by adding them to the tone pallette that my existing mics aren't covering. I got some good recommendations that I took to heart. Pertaining to the MD421's, I had some & got rid of them because I have other mics I personally prefer over them. I don't look at them as status symbols, just workhorse dynamics. The more & more paying customers I have coming in the more I discover that do need some more of those tried & true workhorses (even if I'm not crazy about them). Again, sorry if I confused or angered anyone.

Thanks, jd

[jhharvest]

I guess the other way of looking at it would be to check your gear list against someone else's more typical set up and asking yourself the question "Which of my mics does the function of that one?" Have you tried Beyer M160?

I think the point of buying "expensive" (or established) mics is predictability, reliability and serviceability. But if you trust your own handiwork and you (and your customer) feel you are getting equal sonics then it shouldn't be a problem, mostly. Mostly I say because some people seem to sing better when they think there's an expensive mic in front of them, for whatever reason.

[Snarl 12/8]

It's hard to know what part of your tone palette is missing if you have an unknown (to us) number of modded (in ways unknown to us) mics. I don't mean to dismiss your query, but you've sortof evolved to a place where only you can really answer your own question.

[Nick Sevilla]

Justin,

Sorry if my replies came across as pompous or if at anytime my replies were dismissive of suggestions other people posted... that was never my intent. If I did I apologize.

I started this thread in hopes of getting some recomendations of mic brands/models I might benefit from by adding them to the tone pallette that my existing mics aren't covering. I got some good recommendations that I took to heart. Pertaining to the MD421's, I had some & got rid of them because I have other mics I personally prefer over them. I don't look at them as status symbols, just workhorse dynamics. The more & more paying customers I have coming in the more I discover that do need some more of those tried & true workhorses (even if I'm not crazy about them). Again, sorry if I confused or angered anyone.

Thanks, jd

Hi JD,

Not knowing anything about what sounds you work with, or what you don't like about your recordings, and adding, like other posters, that you omitted so much info... like all your mics having been modded, etc...

I think you still need to do what I suggested. Not only for the clients, which expect certain name brands, but also for yourself, as you seem to be searching for an unknown something. Taking what some salesman says "seriously" is a sign that you indeed probably do not know what you are looking for. Use your own judgement and ears in an objective way to find what you would define as a "better" kind of microphone, which will please you and your clients.

Cheers

[Justin Foley]

Sorry if my replies came across as pompous or if at anytime my replies were dismissive of suggestions other people posted... that was never my intent. If I did I apologize.

I started this thread in hopes of getting some recomendations of mic brands/models I might benefit from by adding them to the tone pallette that my existing mics aren't covering. I got some good recommendations that I took to heart. Pertaining to the MD421's, I had some & got rid of them because I have other mics I personally prefer over them. I don't look at them as status symbols, just workhorse dynamics. The more & more paying customers I have coming in the more I discover that do need some more of those tried & true workhorses (even if I'm not crazy about them). Again, sorry if I confused or angered anyone.

Thanks, jd

You didn't anger me. I was just confused.

Anyway, I'd second anyone's recommendation on a beyer M160 or M130. Both great mics, good for an M/S config together. I can't compare them to the mics you already have, but maybe you'd like them.

= Justin

[KennyLusk]

This isn't meant critically, but you seem to have a little blurb next to each mic justifying your reason for having it, or liking it.

Seems to me you're happy with what you have. You sure do have a lot of mics though, LOL.

How come no ADK mics?

[kayagum]

If you reach for a mic (for a particular application or sound) and it's not there, then you need it, and go ahead and buy it.

If you haven't used a particular mic in the past year and you record regularly, you don't need it and you should sell or trade it.

If you're posting your mic locker to subconciously seek validation from this board, all I can say is that this can be a tough crowd (see my sig)

Instead of a 421, consider a 409 or an e906 for a cool and versatile dynamic mic.

[dsw]

"About 95% of a High-End mic's price is it's name & heritage.

horse-shit

High end mics are expensive because of the cost of parts, labor, and marketing.
The one exception to this is Neumann accessories which are vastly over-priced.



You need to go listen to some mics and see if one makes you go "oooh...I don't have anything like this and I gotta have it.

Lately the Miktek CV4 has been selling real well here, and people are really loving it for its big rich tube sound.

[KennyLusk]

Lately the Miktek CV4 has been selling real well here, and people are really loving it for its big rich tube sound.

I didn't realize you sell gear dsw.

What is the name of the distributor you work for?

[top_ape]

I might suggest a pair of SM81s. You have a few of the KM84 style bright SDCs but unless one of the (what i am assuming to be lower end, since I'm not familiar with them) other ones fits the bill you might do well with a stereo pair of neutral unhyped SDCs.

They fit the cheap requirement AND the "industry standard" requirement. They work on just about anything, and actually blow the brighter SDCs away on sources that don't need any more high end emphasis (close mic on an already bright hihat for example).

[jdmcgee]

I guess the other way of looking at it would be to check your gear list against someone else's more typical set up and asking yourself the question "Which of my mics does the function of that one?"

This is a great idea! Thanks to you & all the other good ideas & recommendations from everyone.

Thanks Again, jd

[Scodiddly]

I might suggest a pair of SM81s. You have a few of the KM84 style bright SDCs but unless one of the (what i am assuming to be lower end, since I'm not familiar with them) other ones fits the bill you might do well with a stereo pair of neutral unhyped SDCs.

They fit the cheap requirement AND the "industry standard" requirement. They work on just about anything, and actually blow the brighter SDCs away on sources that don't need any more high end emphasis (close mic on an already bright hihat for example).

Hmm... this is where I'd suggest a KSM-137 or KSM-141. SM81 is a standard but a fair number of people hate it. I personally think that either of the KSM (141 gives you an omni setting) sound really good on acoustic instruments as well as drums.

But overall, if you've gotten that far on microphones but still don't like your results it's time to put some money and energy into the room acoustics.