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Used KSM 32 simply blows away the mid to low range LDC's.

I got the UA4-710d about two weeks ago, and I LOVE it! Really dig both the mic pres and the compressors. Since they're pretty limited in control, the comps aren't good for everything, but they've been sounding wonderful on vocals specifically. Both the solid state and tube stages sounds nice - If y...

If your space is untreated, nice condensers will pick up bad room sound, giving you bad vocals. The 4050 would probably sound better if you treated the room. I've sold more than one condenser thinking it sounded bad when my room was the real culprit. Dynamic mics reject a certain amount of room sou...

Start treating your room by putting in these:

http://www.atsacoustics.com/item--ATS-A ... -1007.html

and then add a few bass traps later. What's your floor like?

Is your vocal space treated?

Used ADK Hamburg
Used ADK Vienna
Used ADK S7
Used ADK A6
New MXL V67G
Used KSM 27
Used Peluso CEMC6
Used SM81

dgrieser wrote:They really shine with the omni caps.

Is the music in your link (on mandlolin) recorded with the 012's in stereo with the omni caps?

Thanks for that. I'd like to hear a pair for myself. I go to williamsburg, VA sometimes to visit but good god those guys are in the boonies out near West VA. It's always better to compare your best available mics directly to what you are thinking of upgrading , in your studio , but you can dig arou...

With the exact same placement as the 012's, the Peluso CEMC 6's sounded more detailed, smoother and had more low end capture as well. High end was not brittle. The noise floor is lower. They also feel more durable and the shock mounts are very good.

I used to use the 012's that were modded until I tried a trusted associates Peluso CEMC 6's. After the second test, I put the 012's up on Ebay. I've been happy ever since.
(Applications: acoustic guitar, stringed instruments, drum overheads, piano.)

For the hard headed hitter, the engineer is in charge of mic placement and the fader, thank God. There have been a number of situations where the drums were miced with stereo overheads, kick and snare, and the cymbals were too loud but I couldn't turn them down too much or I'd be losing the toms. Y...

It's really more about technique (live vs studio). It's also hard to convince a budding drummer of the fact that this is true. I've noticed that musicians (in general) don't listen to other band members as much as they will listen to a good producer in a studio setting. For the hard headed hitter, ...