pretty sure they used a peluso 67 for vocs on the new Aerosmith record.

The Peluso P28 is a rather nice mic.

I'm not really looking at SDC's right now. (They have the SDCs at Rocket and they sounded great on a guitar cabinet.) I feel that I'm fixed for SDCs with my Rode NT55s and Shure SM81s. The Pelusos have a good rep for the SDCs, (and if I were starting from scratch the full set of capsules would be a big factor) but I'm reluctant to switch one good set of mics for another.

I actually saw some of those Aerosmith photographs recently. Yes, I believe you're correct about the Pelusoon on the Arrowsmith sessions? Something about that in last month's MIX Magazine. Though the one photograph really does make it appear that it might be a Neumann, original issue, U-67? It's got that connector with the microphone mount while utilizing the shock mount. And that tells me it's a real 67 and not a Peluso 67. So not really sure?

I have been intrigued with some of the recordings I've heard utilizing Peluso's microphones. Rather comforting to know they are made right here in our Commonwealth of Virginia. Virginia is not a state even though it's considered to be one of the 50. There are a few commonwealths in the United States. It is almost like having different sovereign countries within our own country. Many laws that the Commonwealth follows is not governed by the federal government. Knowing all of that, what makes Peluso build his microphones in Virginia? Does this allow him to technically get away with murder? LOL. I don't think so of his microphones that have had such a fine reputation such as his? Another intriguing manufacturer I've had my eye and ear on. One of the few I believe that does not get his capsules from Taiwan? But I wouldn't swear that's correct? I would just like to believe it's some fine Virginian homegrown?

You know? Like the ham.
Mx. Remy Ann David

Well Peluso is out there in Floyd, VA (technically in Willis, a "suburb" of Floyd.) Floyd is a hippie/folky town. They have a lot of good music out there, but I have drive there on Rt. 8, which is a one beer road (as in if I have two beers and drive home I'm likely to end up in the ditch.) You know how hippies are about federal laws. There are some they are kind of casual about.

I think that Peluso's story is that he has been repairing/restoring vintage mics for years and got into the business of making reproductions. I'm itching to give that 67 a try with the new vocalist in my Americana band.

I've got two matched pairs of the Peluso's... and LOVE em'!

The 2247's are pretty much my "go to" mic's that get used on anything that one would use a multi-pattern LDC on.

There was some "hype" out, early on, that the 2247's were too bright to be an exact match for a U47. Then too, how many "new" original U47's are there?? I'm willing to bet that there aren't but a tiny number... like less than a dozen in the world, that really are New Old Stock.

I originally heard this "brightness" in my 2247's, but after 3 years of constant use, they have mellowed a bit and are just wonderful on anything I stick in front of em'.

The P12 pair that I have are pretty stellar, and getting more so as they gently age with moderate use.

I've used both pairs on everything from OH's, guitar, acoustic guitar, singer/songwriters, piano, Hammond, room vocals, strings, horns, percussion and as room mic's.

Typical male voices, and lower frequency female vocals... the 2247 is it. For rich tenors and sultry females... the P12 can't be beat.

I've done spaced array (not quite the best application for the 2247's in my smaller room, unless in full figure 8), Mid/Side, Blumeline and XY. They both perform equally well in all these applications (except as noted).

The stereo field created by the 2247's in Blumeline is not quite as defined as the P12's, but it's a bit fuller in the low mids/lows.

Self noise of the mic's is a bit higher in the 2247's, but as long as you don't have to push the gain on your pre to the maximum, I think you'll find that they're exceptionally quiet.

Overall, I have no complaints about either the 2247 or the P12... with the added comment that I'm planning on more Peluso's in my future, as the budget can afford.

Thanks for chiming in Max. I'm not in the market this month, but when I get a little breathing room I may contact them and see if they'll let me take a look at the shop.

I've used the 22 251 (ELAM copy) on everything from vocals to distant micing a guitar amp. It certainly sounded nice.

jack douglas has the right idea for promotion eh? i don't think any areosmiths record sounds 'great' overall. since they report (in mix mag) it took like a year, i question takes/ mic selection

I had some extra money for microphonage. My one boutique mic was a Neumann U-89 that has been a reliable workhorse on all my projects.

I wanted a stereo pair of very nice mics. First instinct was to get a match to the U-89, but used prices had them around $1800 for just one in nice condition. Not only that, but I've noticed that I've had to boost treble on a lot of Neumann tracks to get things to sparkle just right (could be my aging eardrums).

I started thinking of ribbon mics, but they have a reputation for darkness. So... I started looking at AKG C-12 clones, which took me eventually to Peluso P12s. After hemming, as well as some hawing, I pounced. So glad i did. These things put just the right amount of sparkle into tracks, without high-end harshness. Things just seem to "sit well" when tracked with the Peluso P12s. They make a great compliment to the Neumann.

I have a pair of Seventh Circle Audio A12s (API clones) that really help them shimmer and punch, but one P12 through the SCA N72 (Neve clone) sounds really delicious.

Very happy with my decision.

Told ya!!
(y)

(So, when the heck are ya's gonna make the trek westward, one county, an' come see me???)

MadMax, post: 405533 wrote: Told ya!!
(y)

(So, when the heck are ya's gonna make the trek westward, one county, an' come see me???)

I know I am so slack. PM me your mailing address, so I can send you my latest CD and reinvigorate our dialog.

I've been out of the gear buying scene for quite awhile now... these sound like very nice mics, and not second mortgage purchases, either. I'm going to have to look into these a little bit more.

Seriously Donny,

The Peluso's are one of the rarer values in the industry today. At least the two pair I have certainly are.

I will also note that recently, I sent all four of my Peluso's back for checking, cleaning and a 2247 that was giving me a problem with rumble and noise- that instead of just being a tube, was also attributable to a cable giving me some intermittent issues that I hadn't yet discovered.

The mic's were inspected, tested, repaired as necessary and expedited right back to me.

They were out of warranty, so the bill was all mine... But the bill was less than the shipping!!

On a second note, while the mic's were out of the shop, I had a major vocal session I HAD to have mic's for, and the Peluso's wouldn't be home for at least 3 more days!!! ARRRRRGH!!!

In a panic, I contacted a coupla' folks to see what I could borrow, but an eye towards knowing I'mma' be in this situation of needing a coupla' more mic's so I can cover for such occassions... (plus I was kinda' Jonesin' for some new mic's anyway) I contacted Sound Pure over in Durham, and lo an' behold... I had an excellent discussion about mic characteristics of what all was in my locker and some directions I don't need to fill and where I'm short.

So, I've kinda' got a decent plan of action to follow for a bit.

Where I was a little light was in the forward/modern vocal department. So, I took Doug's advice to heart, and took a big damn chance and snatched a pair of Charter Oak 538's. Not the 538a.

It's actually a bit to get used to, but I kinda' dig it.

Damned quiet too.

You do have to make it behave, just as you do any tube mic. But they warm up quick, and are another decent value like the Peluso.

The 538 is no 2247, nor is a 2247 a 538. Then too, they really are two different animals.

But if you've got a classic locker built already, I'd put the 538's on the "definitely gotta look at list".

Has anyone on this forum personally been to Mr. Peloso's shop? I have two old tube mics (not Neumann or AKG) that need reskinning with the better Mylar stuff. I'd do it myself but I can't seem to find some of the gold/mylar material...

I've never been out there. He's not that far from me, but he's not exactly on the beaten path. Up in the hills where little albino boys with no shoes play fretless banjos.