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Another mic?

Discussion in 'Microphones' started by Janglin_Jack, Dec 30, 2012.

  1. Janglin_Jack

    Janglin_Jack Active Member

    When I got started with recording my band, I thought you just tossed up some mics and recorded and fixed t all in the mix. I have learned a lot since then and recognize where our limitations are for space, etc. we use a rented space that has some treatment. I have Logic at home and a Yamaha AW1600 for mobile recording. Have KRK VXT4 monitors. I have a variety of SM57/58, Unidyne III, 545SD, e906, Audix i5, D4, D112, Oktava MC-012 with cardioid and omni capsules, Cascade Fathead, AKG Solidtube and an SM7B. GAP Pre73 and DMP3, and FMR RNP. I would like to add a condenser for vocal options and for guitars. If I got two maybe as overheads vs the Oktava. Leaning toward two AT4050. I want to start with one good LDC but I keep going in circles. Mixed reviews on the Solidtube and not sure I want a cheap, Chinese condenser, heard T3 and C1 are nice options.I am a guitar player and I learned lots about amps and gear over the last 20 years with building amp, buying guitars, changing pickups, etc. I cant tell how good/bad the Solidtube without something to compare it to. I think it is great on acoustic guitar and had mixed results with vocals. Want to add a good LDC primarily for vocals and acoustic! Feel like AT4050 would be a solid addition but hoping to get a suggestion that either rules out an LDC for now or gets me started with a studio staple - KSM32/44 AT4033, AT4050, AT4047, Rode NT2A, etc. suggestions?Mike
  2. DonnyThompson

    DonnyThompson Distinguished Member

  3. Janglin_Jack

    Janglin_Jack Active Member

    Around $500. I can stretch that a bit, but don't see spending more than $700. The right purchase may be nothing at all at this time. I am just in a position of not sure what I am missing since I don't have a high end condenser, nor have I used one.

  4. RemyRAD

    RemyRAD Well-Known Member

    You might want to look into the AKG C-214 or perhaps a Neumann TLM-103/102? And they will always hold their value. Though I also really liked the way the SHURE SM-81's are so versatile, smooth, good on virtually everything. I've been using those since you can buy them new for $180 when they first came out. And you can generally find them used for around that price. Nothing brittle or metallic about them. Very high output level and very low noise.

    Really you've got a great microphone selection already. I'd go for a larger pair of KRK's myself. But that's just me. To me, KRK's come closest to reminding me of my old-fashioned rock 'n roll JBL 4311's. And others don't in that price range. But that's just me. I don't even personally bother with subwoofer's.

    Maybe you might want to buy an API or Neve preamp? Something that's got those nice input and output Transformers and electronics whose sound can't be beat.and then any microphone that you have that you plug into one of those will sound like nothing else. And your recorder can take that in on a line input. I mean, I'm really stuck on the sound of transformer coupled, all discrete transistor circuits. And when you plug a 57 or 58 into one of those, you will instantly recognize the sound of some of your all time favorite records you grew up listening to. Every one of your microphones will be transformed through one of those two preamps.

    Neve and API all the way
    Mx. Remy Ann David
  5. Janglin_Jack

    Janglin_Jack Active Member

    So my recording chain being improved it better than a new mic. Preamp upgrade, etc. I have tracked a few things in my house, (untreated) but I have some high ceilings ranging from 10' to 18'. It is a split level house and found some nice spots to record on my own, (just not the band as I have little kids and try to keep it quiet for the little ones). I use a Firestudio Mobile at home. Considered getting a Sytek with two channels of Burr Brown. Maybe I should just hold off until I can make a real recording space, with real pre's and monitoring chain?? Would an AKG 214 be a nice LDC to start with??

    I just know from my guitar playing, that sometimes you just have to choose a jumping off point. I have also had some nice gear that sounded great when I played in my bedroom, but when I played the same rig on stage with my band I got lost in the mix. Anyhow, would the C-214 be a place to start with a LDC while I consider how to improve the rest of my chain?

  6. RemyRAD

    RemyRAD Well-Known Member

    The 214 is a lovely microphone. You already have a bunch of lovely microphones. You are talking about replacing your interface before you have come up with an acceptable recording? This is not the fault of the equipment. But the 214 is certainly a lovely and versatile microphone that comes in around your budget. It's lovely on vocals. A pair of them are really nice as overheads on drum sets. They work well on guitar but you don't often see them there as I think they get a little too fizzy? Now those definitely have a sound to them. Something more subdued might be the Neumann TLM 102 also close to your budget as you can even find those new microphones used on eBay.

    I don't know about you but half the time for rock 'n roll vocals, it's really hard to beat that SM-7. Especially since you have the switches to tailor that midrange response to flat or accentuated. But as far as LDC's go, I would definitely go with the 214. But then you still not reap the harvest you could have without a classic transformer coupled microphone preamp. That will add a considerable amount of class to your captures. It goes well beyond the differences between microphones. And that's why I think you should waste your money on one of those first. You've already got a bevy of microphones that will sound absolutely spectacular through an old-school, transformer coupled, all transistor no chip, microphone preamp, with an output transformer also. Having something like that going into even a mediocre analog to digital converter will still blow away just about anybody else's cheap transformer less microphone preamp in a cheap analog to digital computer audio interface. And it seems you're not quite understanding or comprehending that? You think the microphone is a magic pill. But that SM-7 into a classic preamp will blow most everything else away hands down. And for a lot less money. No fooling. But you don't get that same kind of classy sound going into a transformer less, crispy crunchy, and neutralized neutered, metallic computer audio interface. It's like trying to ice skate on broken glass in your bare feet. And with that classy preamp, you can walk on fire and not get burned.

    Better think about this.
    Mx. Remy Ann David
  7. Janglin_Jack

    Janglin_Jack Active Member

    Time to get out of the budget pre's. I hear you. I am used to researching the budget end of pre's such as P-Solo, Golden Age GAP Pre73, FMR RNP, Grace M101, etc. I'll spend some time checking out some character preamps. Can you give me some specific pres to check out. You are already mentioned API (512c??) and Neve (1073?). Chandler? Great River? UA?

    Thanks for all the suggestions!
  8. pan60

    pan60 Active Member

    If you don't mind used the BLUE blubbery ( or a mouse or a baby bottle ), is a nice overall mic. I would look for a pre USA model if it where me.
    Seems like you already have some decent mics that would cover most needs. I would not buy a LDC just to have one. Personally i'll take a great dynamic over cheap condenser any day.
    As for pres there are a ton of really nice pres out there.
    Personally I am a big 500 format fan. A great form that now day has almost endless options and a small foot print, very nice for small project studios and rooms.

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