Help on Choosing Microphones
Help on Choosing Microphones
So, I'd like your opinion on really good but fairly cheap (under $300) microphones for somebody just beginning their recording career. Is the AT2020 as good as the hype suggests? Is it worth paying 40 bucks for a used Marshal MXL 603S or $99 for an Oktava MK219? Would these be useful additions to a mic collection or a waste of money? What about the Rode NT3? Any good?
How can I get the most bang for my buck with a budget of around $500? I'll need mic's that are good for vocals, guitar (acoustic and electric), bass, and drums. Please keep in mind that I already know about, and own, the SM57...
Thanks in advance!
How can I get the most bang for my buck with a budget of around $500? I'll need mic's that are good for vocals, guitar (acoustic and electric), bass, and drums. Please keep in mind that I already know about, and own, the SM57...
Thanks in advance!
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- ghost haunting audio students
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Believe it or not, that's a pretty diverse array of instruments to try to record, and there really isn't one microphone that will do it all. Heck, most people try to have at least four mics at once when recording drums.
My usual recommendation is to focus on the kind of mic locker you'd like to eventually develop, and work your way there a step at a time. A good basic starting recipe is to have a pair of multi-pattern Large Diaphragm Condensers (LDCs), and a pair of Small diaphragm condensers (SDCs) in either cardioid or omni depending on the quality of the room(s) you typically record in, and at least one medium-to-large diaphragm dynamic (Sennheiser 421, Shure Beta-52, RE-20, etc), and a handful of smaller dynamics like your SM-57. You don't have to buy them all at once, but drawing out a plan and working towards it one or two mics at a time will help get you there faster. And a mic locker like that will allow you to toss up 8 mics to record a typical drums, bass, guitar, vocals, live to multi-track session, as well as damn near anything that might come your way. These are all the basic food groups, with the multi-pattern LDCs that allow you to hit all the basic stereo mic configurations, the SDCs to handle detailed instrument duties when the LDCs are busy, the big dynamic for kick, bass or hardcore vocals, and the small dynamics for drums, amps, and other utility applications.
As for which brand to purchase, well damn near anything in that low price point is going to be built in either China or Russia. If price is your primary motivating factor then get a couple of those MXL project packs with the LDC and SDC mic packaged together, then you've got your two pairs of condensers with some change left over. If build-quality, reliability or sound are your primary factors, then you might choose to buy one better quality SDC (AKG, Audio Technica, Shure, etc.) and another '57 now, then make the same purchase in a few months when you have more cash, then add one LDC, then pair it, and then add your large dynamic. Then in a year's time, you'll have the whole basic package, you'll know those mics really well, you'll have learned about placement and patterns and standard setups, and you might choose to add more colorful choices of LDCs, SDCs and dynamics, or you might move towards more esoteric colors like ribbons or tubes - or you may decide you have everything you'll need for a while and will concentrate your efforts in other directions.
-Jeremy
My usual recommendation is to focus on the kind of mic locker you'd like to eventually develop, and work your way there a step at a time. A good basic starting recipe is to have a pair of multi-pattern Large Diaphragm Condensers (LDCs), and a pair of Small diaphragm condensers (SDCs) in either cardioid or omni depending on the quality of the room(s) you typically record in, and at least one medium-to-large diaphragm dynamic (Sennheiser 421, Shure Beta-52, RE-20, etc), and a handful of smaller dynamics like your SM-57. You don't have to buy them all at once, but drawing out a plan and working towards it one or two mics at a time will help get you there faster. And a mic locker like that will allow you to toss up 8 mics to record a typical drums, bass, guitar, vocals, live to multi-track session, as well as damn near anything that might come your way. These are all the basic food groups, with the multi-pattern LDCs that allow you to hit all the basic stereo mic configurations, the SDCs to handle detailed instrument duties when the LDCs are busy, the big dynamic for kick, bass or hardcore vocals, and the small dynamics for drums, amps, and other utility applications.
As for which brand to purchase, well damn near anything in that low price point is going to be built in either China or Russia. If price is your primary motivating factor then get a couple of those MXL project packs with the LDC and SDC mic packaged together, then you've got your two pairs of condensers with some change left over. If build-quality, reliability or sound are your primary factors, then you might choose to buy one better quality SDC (AKG, Audio Technica, Shure, etc.) and another '57 now, then make the same purchase in a few months when you have more cash, then add one LDC, then pair it, and then add your large dynamic. Then in a year's time, you'll have the whole basic package, you'll know those mics really well, you'll have learned about placement and patterns and standard setups, and you might choose to add more colorful choices of LDCs, SDCs and dynamics, or you might move towards more esoteric colors like ribbons or tubes - or you may decide you have everything you'll need for a while and will concentrate your efforts in other directions.
-Jeremy
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- takin' a dinner break
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thats some good advice there.
But i would suggest that you try your hand at a an audio tecnica 4050. Thats microphones are fabulous. I like you would get a lot of use out of it. If you look hard enough you could find one used for about 5 bills. I thats probly about the best mic in that price range.
But i would suggest that you try your hand at a an audio tecnica 4050. Thats microphones are fabulous. I like you would get a lot of use out of it. If you look hard enough you could find one used for about 5 bills. I thats probly about the best mic in that price range.
"What a wonerful smell you've discovered"
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- ghost haunting audio students
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I agree thoroughly which is why I own two personally and four for the school studio. But it would blow the whole current budget on just one microphone, which is something to consider as well.Cyan421 wrote:But i would suggest that you try your hand at a an audio tecnica 4050. Thats microphones are fabulous.
-Jeremy
- transmothra
- gimme a little kick & snare
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i love the Marshalls. they sound great for being so cheap. i got my MXL990 for about $100 new. it's no-frills, for sure, but it's cheap and it does its job nicely.
like [just about] any condensor mic, you'll need phantom power if you get one.
like [just about] any condensor mic, you'll need phantom power if you get one.
...do you believe that?
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Scarlett 212 1st Gen | Reaper | PreSonus Eris E5/A-T ATH-M20x
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I agree with the others that the AT 4050 is a great mic.
But you can pickup the AT3035 for $199 each and they are so sweet and versatile. Not bad for mic'ing cab's, really great for vocals and a dream on acoustic instruments. An outfit is selling them on ebay right now for $135 each. I bought one from them just to see if they're legit and yup, they're the real deal. The AT mics have little to no self-noise also.
The AT2020 meets up to the hype also.
I can also say Scott Helmke's "Alice" mic is an incredible buy as well. It has it's own "sound" with a powerful output, freakishly accurate mids, super tight low end and the high's are strong but never brittle.
If you buy anything Oktava I would recommend popping the xtra coin and making the purchase from The Sound Room. No one carries the quality Sound Room does when it comes to Oktava and there's a huge difference between what you get from them and what you get from say...Guitar Center.
But you can pickup the AT3035 for $199 each and they are so sweet and versatile. Not bad for mic'ing cab's, really great for vocals and a dream on acoustic instruments. An outfit is selling them on ebay right now for $135 each. I bought one from them just to see if they're legit and yup, they're the real deal. The AT mics have little to no self-noise also.
The AT2020 meets up to the hype also.
I can also say Scott Helmke's "Alice" mic is an incredible buy as well. It has it's own "sound" with a powerful output, freakishly accurate mids, super tight low end and the high's are strong but never brittle.
If you buy anything Oktava I would recommend popping the xtra coin and making the purchase from The Sound Room. No one carries the quality Sound Room does when it comes to Oktava and there's a huge difference between what you get from them and what you get from say...Guitar Center.
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- gimme a little kick & snare
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I will second ( or 3rd or 4th...) the Audio-Technica 4050. Excellent mutli-pattern mic for the money. I got 2 for $700. They were B-stock but I got the full warranty so I figured I couldn't lose....and I didn't. But it seems the place I got them no longer has them any more though. I've seen them go on Ebay for about $300-400.
If you can get the MXL 603 you mentioned for $40...do it. It is an pretty good mic...especially for $40. I have one and still use it sometimes.
Also...I have never used a CAD M179 but I have read MANY good things about it. It is a mutli-pattern condenser and goes for about $200. I think it is important to have a multi-pattern if you have a small mic collection because it will give you so many more options as far as placement and sounds that you would normally not have with just a bunch of cardioids.
Tim
If you can get the MXL 603 you mentioned for $40...do it. It is an pretty good mic...especially for $40. I have one and still use it sometimes.
Also...I have never used a CAD M179 but I have read MANY good things about it. It is a mutli-pattern condenser and goes for about $200. I think it is important to have a multi-pattern if you have a small mic collection because it will give you so many more options as far as placement and sounds that you would normally not have with just a bunch of cardioids.
Tim
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- soundguy
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If I had to make a record with nothing but 421's I think I might actually be excited about it. I cant think of too many other mics that are that versatile.
dave
dave
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Gonna have to give a "me too" on that. In the $300 and under category, why do people always forget about the high end dynamics- 421, 441, RE20, RE38, SM7, etc? I'd much rather have one of those than any cheap Chinese condenser.soundguy wrote:If I had to make a record with nothing but 421's I think I might actually be excited about it. I cant think of too many other mics that are that versatile.
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- theenvycorps
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I'll vote for the 421 too. That leaves you with enough cash to pick up a D112 for kick.
That gives you three mics total, right?
57 or 421 for snare, D112 for kick (then when you can, squeeze another $60 out of your wallet and pick up an MXL as a mono overhead).
Then you can use the 57 and 421 for elect or acoustic guitar, the D112 for bass cab, and the 421 for vocals.
An inexpensive solution that may plaese you to no end.
That gives you three mics total, right?
57 or 421 for snare, D112 for kick (then when you can, squeeze another $60 out of your wallet and pick up an MXL as a mono overhead).
Then you can use the 57 and 421 for elect or acoustic guitar, the D112 for bass cab, and the 421 for vocals.
An inexpensive solution that may plaese you to no end.
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