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Renowned garage rock producer Owen Penglis' fav mics

Discussion in 'Microphones' started by Enmore Audio, Sep 15, 2016.

  1. Enmore Audio

    Enmore Audio Active Member

  2. Boswell

    Boswell Moderator Distinguished Member

    EV RE20: I have been using these for many, many years on almost everything percussive, with great results. A couple of years back at a live club recording, I was unexpectedly presented with a vocalist who also played fiddle in her vocal gaps. I had an RE20 set up for another act, but was not using it for this group, so I grabbed it and quickly set it up over the the fiddle. I couldn't believe how good it sounded - even better than the SM81 I would normally have put up had I known about the fiddle in advance. It was a much smoother sound that was simply easy to mix in with the vocal mic and the other band members. On hearing the recording, the vocalist/fiddler wanted to know what mics I had used for her so she could instruct her usual recording studio to set up the same for her next CD recording session.
    pcrecord and audiokid like this.
  3. Sean G

    Sean G Well-Known Member

    SM-57...the all-round workhorse found in every studio.

    There is really nothing you cannot do with a '57 ;)
  4. DonnyThompson

    DonnyThompson Distinguished Member

    It all depends on the application at the time.
    Like Boswell, I like the RE20, like Sean, I feel that the 57 is a fantastic all round mic, as is the 58. I like Senny 421s, too.
    I really like 414s, preferring the older models with the C12 brass capsules to the newer models without them, but even the newer ones are still fine mics. The 414 is probably one of the best all-use mics available.
    Royer ribbons are wonderful, and I really like pretty much anything that Neumann makes.
    I won't dwell too much on mic preamps here because that's not the topic, other than to say that mic pres are an important step in the gain chain. If I had to, I'd rather use a 58 through a really nice pre than to use an expensive mic through a cheap pre.
    IMHO of course.
  5. dvdhawk

    dvdhawk Well-Known Member

    I saw some love on that page for the E-V 635, which is another extremely useful mic in a lot of situations. If omni is not a deal-breaker for your situation, it's a great little workhorse.

    I also have a couple AKG D-3600, which are oddly shaped, dual-capsule, dynamic cardioids. The second capsule is rear-facing and counters much of the proximity effect. So if you've invested a ton of time and money getting a sound you love coming out of your guitar amp, shove a D3600 in front of it and that's the sound you get through the PA, or on the recording. It doesn't add a bunch of hyped bassiness, that you're probably going to low-cut out of the mix anyway - which is why I never cared for a 57 on electric guitar. The D3600 is very accurate in that application, without the inherent challenges of using an LDC live, or in a sub-par recording space.
  6. kmetal

    kmetal Kyle P. Gushue Well-Known Member

    Akg 414, sm57 in that order. Neither mic is bad on anything. Not always the best possible, but never bad.
  7. DonnyThompson

    DonnyThompson Distinguished Member

    Oh... and the Sennheiser MD409...
  8. kmetal

    kmetal Kyle P. Gushue Well-Known Member

    Since d brought up senny, I think the md441 is probably the most overlooked mic out there. It's a dynamic that sounds like a condenser. Killer on snare top. I think the price tag scares people.

    My new pet mic is the beta 57a. I messed w one at the store the other day after the kid was telling me he liked it, since we quite a few life's of gear in commonon, I figured it was worth a shot.

    After a couple minutes of talking and acoustic guitar through it, I was like 'well this is worth buying one to try' so it's the next mic I'll grab in a month or so. That and a cascade fathead.
  9. audiokid

    audiokid Staff

    pcrecord likes this.
  10. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    +1 (y)

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