Not that there's nothing not wrong with that!tonewoods wrote: So-ooo, yeah.
KSM32 = solid woodiness around here...
KSM
I have a pair of ksm27's i've had for probably 5 years, and recently picked up an sm27. They are pretty close in sonics. The older ksm's are a bit more responsive than the newer sm, while also being a bit warmer. They have aged well.
Both models have a bump around 10k.
These can be the ultimate tom mics if you trust the drummer not to hit them.
I moved to these from 32's (doing a lot of live work and needing something smaller).
I have used 32's, 44's and 27's as cardioid overheads, and feel there is a very consistent neutrality to the line in the high end spectrum. The character differences for me have been more in the mids and proximity reaction in these areas.
One of my favorite mics of all time is the ksm141. Omni knee position on a drum kit was pure gold, but the mic took a dump within a year and I never owned a pair.
Both models have a bump around 10k.
These can be the ultimate tom mics if you trust the drummer not to hit them.
I moved to these from 32's (doing a lot of live work and needing something smaller).
I have used 32's, 44's and 27's as cardioid overheads, and feel there is a very consistent neutrality to the line in the high end spectrum. The character differences for me have been more in the mids and proximity reaction in these areas.
One of my favorite mics of all time is the ksm141. Omni knee position on a drum kit was pure gold, but the mic took a dump within a year and I never owned a pair.
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weatherbox
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The KSM141 is an excellent workhorse microphone and IMO the star of the series. They're great in so many applications. Killer drum mics, up close or at distance. Cool on electric guitar. A pair is a good addition to almost any collection. Present and bright but not hyped or especially prone to harshness. Love them.
I have a pair of KSM27's. They are way different from the typical cheap chinese-mfg large condenser mic; smooth, very even treble, balanced. Not a lot of extreme peaks in the low or top end, neutral. Very unforgiving of bad signals like cheap drum cymbals; they record what they hear very well and accurately.
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tonewoods
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I remember trying just about everything on that project, which featuring mandolin-family instruments in various settings...joninc wrote:curious what other mics you were comparing with ...tonewoods wrote:I did a huge shootout years ago, looking for the "perfect" mic for recording an arched-top F5 mandolin...
:
So-ooo, mics tried would have included:
RCA BK-11
RCA 77DX
RCA BK5
Sank mod'ed M500
Sank mod'ed M260*
Sank mod'ed M160
Sank Mod'ed B&O
Beyer M500
Beyer M260
Coles 4038
Neumann U87
Microtech Gefell UM70
Gefell M300*
AKG 451
AKG Blueline*
Shure KSM32*
Josephson C600*
Altec M10*
Telefunken U47a
AKG D19C
Altec 689C
EV RE 18
EV RE 15
EV RE 16
EV RE 55
EV 408
EV 635a
EV 644*
EV 655c*
EV 666
I remember liking the ones with a * the best....
I have the whole thing on tape here somewhere. Let me see if i can find it and post it...
The KSM32 really stuck out to these ears...
"You see, the whole thing about recording is the attempt at verisimilitude--not truth, but the appearance of truth."
Jerry Wexler
Jerry Wexler
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