Seeking yet another Mic rec...
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friar_tuck
- audio school
- Posts: 8
- Joined: Tue Apr 04, 2006 1:33 pm
- Location: San Francisco
Seeking yet another Mic rec...
My budget is about 1k, which would include extraneous shit like shock mounts and cases. I'm seeking a versatile large-diaphram condenser that will be used primarily for vocals. I'm leaning towards a 414 or TLM 103 or 4050... any other mic's I'm forgetting? Thanks.
Here's is what I've bought for 1 K......
MXL v67 Large condensor $100.00 w/shockmount
MXL v69 Large condensor $200.00 w/accessories
Cad Equitek E-100 $100.00 w/ case
RCA 74b Ribbon $400.00 w/desk stand
Shure 333 Ribbon $200.00 w/ original case
Those MXL mics are really great, and having the the option of the tube (69),
or not (67), is awesome.
All of these mics can be used for vocals. I think having options is very important, as oppposed to only having one expensive microphone.
I have owned a AT4050 before and those things are very harsh to me.
I've only used one 414 that I've liked and it was one of the silver EB models. The new ones seem very harsh to me as well.
It is my theory that that in the digital age, these older mics don't rock as hard as they use to when I would slam that signal to tape. I always wanted that bite so it would cut through in the mix, but now I find that I'm always having to pull down the high-mids (2k to 4k) and do alot of de-essing in the DAW.
These are just my opinions, but if I were you, I would try and get more for my money.
Good luck!
-Blade-
MXL v67 Large condensor $100.00 w/shockmount
MXL v69 Large condensor $200.00 w/accessories
Cad Equitek E-100 $100.00 w/ case
RCA 74b Ribbon $400.00 w/desk stand
Shure 333 Ribbon $200.00 w/ original case
Those MXL mics are really great, and having the the option of the tube (69),
or not (67), is awesome.
All of these mics can be used for vocals. I think having options is very important, as oppposed to only having one expensive microphone.
I have owned a AT4050 before and those things are very harsh to me.
I've only used one 414 that I've liked and it was one of the silver EB models. The new ones seem very harsh to me as well.
It is my theory that that in the digital age, these older mics don't rock as hard as they use to when I would slam that signal to tape. I always wanted that bite so it would cut through in the mix, but now I find that I'm always having to pull down the high-mids (2k to 4k) and do alot of de-essing in the DAW.
These are just my opinions, but if I were you, I would try and get more for my money.
Good luck!
-Blade-
ok, this is just me hypothesizing here, but it seems like so many of the "prosumer" mics assume that that they are going to be used with other "prosumer" equipment (i.e. - preamps) so they output a really hot signal with a ton of treble trying to give the "crappy" equipment that sheen/edge/boost, but when the "pros" plug 'em into some nice stuff they sound "harsh" or "hyped" so they get put down and dismissed as crap....
My point being (I guess) that we really need to know what sources you plan on micing and what the rest of the signal chain is before anyone can adequately recommend anything...
or maybe my point is all this gear is crap.....
I dunno..
My point being (I guess) that we really need to know what sources you plan on micing and what the rest of the signal chain is before anyone can adequately recommend anything...
or maybe my point is all this gear is crap.....
I dunno..
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friar_tuck
- audio school
- Posts: 8
- Joined: Tue Apr 04, 2006 1:33 pm
- Location: San Francisco
thanks for the insights, folks.. I think I'm going with the
Neumann. It always seems to win the shootouts. While this mike wil be used primarliy with vox, obviously I'd like the versatility to capture accoustic instruments and room drums. Thanks again.
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friar_tuck
- audio school
- Posts: 8
- Joined: Tue Apr 04, 2006 1:33 pm
- Location: San Francisco
Thanks again folks. After tracking with several of the
above mentioned mics, I chose the cardiod-only Blue 'Blueberry'. Great piece for a grand. I'm stoked.
Boy, what a bunch of crazy answers. Not all bad, but all over the board.
Do you have a chance to listen to any of them anywhere?
I personally wouldn't get Rode anything ever. I've tried too many of those and just wanted to quit for the day. If you're gonna get multiple mics, then I don't know, maybe a cheap condenser, a cool ribbon, and a couple really good dynamics, like an SM7 and/or an RE20
If you're gonna get 1 condensor mic for the money, I'd say look for a used Soundelux U195, (or what I've been jonesin for based on what other people say, a used Peluso, or a used Charter Oak mic. But I can't say I've tried them.) But the U195 is my main condensor mic, and it works on almost everything I can think of in a pleasing way. I love love love it.
Or, out of the group of mics you mentioned, a 414, but there's different kinds. Do some research or try a couple out if you can. I used a 414 BUL/SHit a while ago, and thought it was really really lacking in terms of highs and lows. Which could have been cool, but this one (maybe it was just this particular mic) sounded like the gross part of mid range, and only the gross part. It seemed like the same frequency response as a ribbon, but without the smoothness.
Do you have a chance to listen to any of them anywhere?
I personally wouldn't get Rode anything ever. I've tried too many of those and just wanted to quit for the day. If you're gonna get multiple mics, then I don't know, maybe a cheap condenser, a cool ribbon, and a couple really good dynamics, like an SM7 and/or an RE20
If you're gonna get 1 condensor mic for the money, I'd say look for a used Soundelux U195, (or what I've been jonesin for based on what other people say, a used Peluso, or a used Charter Oak mic. But I can't say I've tried them.) But the U195 is my main condensor mic, and it works on almost everything I can think of in a pleasing way. I love love love it.
Or, out of the group of mics you mentioned, a 414, but there's different kinds. Do some research or try a couple out if you can. I used a 414 BUL/SHit a while ago, and thought it was really really lacking in terms of highs and lows. Which could have been cool, but this one (maybe it was just this particular mic) sounded like the gross part of mid range, and only the gross part. It seemed like the same frequency response as a ribbon, but without the smoothness.
When I was in the same position as you, I bought a few inexpensive large diaphragm condensers, and then finally decided on getting a 414 after being insecure about whether I was getting the best sound I could get. I wanted something that many (obviously not all) agree is a good mic, one that gets used all the time in professional studios.
At first I was disappointed. The c414 is a pretty boring mic. It gives you what is out there. If something is missing, I can grab for one of my other mics to fix what's wrong. Then I realized if I only used it for that purpose, it's the best mic ever. It's good to have one mic you can trust. You can compare all your other mics to it and get a good idea of what each one can do in comparison to it.
I don't know if any of that made any sense. I guess what I am saying is no matter what you do, buy a mic. Get used to it. But what ever you do, get at least one you can trust, that you can use as a baseline to make your comparisons to. If you don't have much money to start with, get some cheap ones. You will probably use them anyway. The only cheap mic I haven't kept using is a Rode NT1. I think it's a bad one though, I heard some great stuff recorded with them.
good luck!
At first I was disappointed. The c414 is a pretty boring mic. It gives you what is out there. If something is missing, I can grab for one of my other mics to fix what's wrong. Then I realized if I only used it for that purpose, it's the best mic ever. It's good to have one mic you can trust. You can compare all your other mics to it and get a good idea of what each one can do in comparison to it.
I don't know if any of that made any sense. I guess what I am saying is no matter what you do, buy a mic. Get used to it. But what ever you do, get at least one you can trust, that you can use as a baseline to make your comparisons to. If you don't have much money to start with, get some cheap ones. You will probably use them anyway. The only cheap mic I haven't kept using is a Rode NT1. I think it's a bad one though, I heard some great stuff recorded with them.
good luck!
not to worry, just keep tracking....
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percussion boy
- carpal tunnel
- Posts: 1512
- Joined: Wed May 07, 2003 5:51 pm
- Location: Bay Area
If you go that route, understand it's a little bit of a crap shoot, because Oktavas are all over the place in sound color. That goes double for Oktavas someone else used first.kayagum wrote:http://oktavamod.com
I have two premium-modded 219s and whatever I said about one would not be true of the other. I like 'em both okay, but one's a lot darker than the other and this didn't show up til after the mod -- because opening up the high end is part of what the mod does.
The mod is a good thing, however.
"The world don't need no more songs." - Bob Dylan
"Why does the Creator send me such knuckleheads?" - Sun Ra
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"Why does the Creator send me such knuckleheads?" - Sun Ra
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GooberNumber9
- tinnitus
- Posts: 1094
- Joined: Fri Oct 20, 2006 7:52 am
- Location: Washington, DC
Just the other day I followed a link from somewhere on these forums (and now I really wish I remembered where). The link took me to a page that had tons of sample recordings of various mics and preamps. I spent way too much time listening to them and I came away believing a few things:
1) I can hear the differences between mics much more easily than between mic preamps.
2) I didn't like any of the budget mics (Rhode, MXL, others) when used on critical sources like acoustic guitar.
3) The TLM103 and the C414 ULS blew away the competition. I thought the TLM103 sounded better for vocals because of a shimmer in the upper mids that wasn't harsh. The 414 ULS (not in production any more?) sounded better for guitar or acoustic instruments because of the rich midrange.
Search the formus and see if you can find that link and that will help you decide for yourself. For me, I want to save up for at least one really nice mic that I can use as a baseline for everything else (preamps, converters, etc.) I see it as analogous to needing good monitoring as the first step to better mixing.
Todd Wilcox
1) I can hear the differences between mics much more easily than between mic preamps.
2) I didn't like any of the budget mics (Rhode, MXL, others) when used on critical sources like acoustic guitar.
3) The TLM103 and the C414 ULS blew away the competition. I thought the TLM103 sounded better for vocals because of a shimmer in the upper mids that wasn't harsh. The 414 ULS (not in production any more?) sounded better for guitar or acoustic instruments because of the rich midrange.
Search the formus and see if you can find that link and that will help you decide for yourself. For me, I want to save up for at least one really nice mic that I can use as a baseline for everything else (preamps, converters, etc.) I see it as analogous to needing good monitoring as the first step to better mixing.
Todd Wilcox
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