That's nice.

I'd throw in a few 441s, an 868, audix D2, and maybe one or two of [[url=http://[/URL]="http://recording.or…"]those Mojave MA100s that Jeremy's been posting samples of[/]="http://recording.or…"]those Mojave MA100s that Jeremy's been posting samples of[/], they're nice...

And +1 on the Schoeps idea.

I don't see no ribbons? Gots to have a least a few of them.

I also don't see some sort of LF dynamic like RE20, SM7, D2, D112, Beta52?

A good tube U47 clone or good stereo condensor.

+1 for Schoeps

Yes.
Oops.

AG's right: An RE20 (or 27) would also be a good addition.
Good luck on the RE20, might be easier to get a PL, but I wouldn't bother.

The 27 is a damn good mic in a kick drum - as is the D2...

And get a ribbon.

Beyer M88

Any discussion of mics being added to the locker must include some discussion of what you think you're lacking in terms of flexibility and color (or lack thereof).

I agree that a ribbon or 10 would be a good addition - something like a staple (R84, 121, etc.) would be a nice touch.

Of the condensers you list, only the 251 has a somewhat "sizzly" or bright top end on it. Perhaps the u87i (not the ai) would be a great addition.

The RE20 or 27 would be a great addition and a wonderful multi-purpose mic (try it in combination with your 195 on kick and you'll be f'ing blown away. It will sound like the kick drum is inside your head!)

I also love the Beyer M160 on guitar of just about any variety and if you're going to have the 160, you may as well have a 130 too. For that matter, you may as well own two 130s so you can do blumlein or M/S with the beyer ribbons. (In both of my remote cases, I've got 2 130s and 1 160 for just this reason).

As for the Schoeps - of course +1 here. I love my Schoeps so much that if my wife ever left me, they'd take her place in my bed. :-O Unless you do a lot of orchestral work though, focus on the MK4 (cardioid) caps. With you already owning a great pair of omnis and their somewhat limited use in-studio, I personally couldn't justify them unless you do a lot of orchestral, etc.

In addition to the Audix D2, consider a couple OM2s. They're great handhelds that work VERY well and are bullet proof.

Cheers-
J

For the LD dynamics, as well as the classics ie: EV RE20/27, Shure SM7, also consider the Heil PR40. It is quite the monster and works on everything.

If you get an 87, and you get an older one, be aware that when Gotham Audio was the importer, they added a choke to the circuit to sorta tame the output on this mic as they didnt feel that the consoles made in America at the time could handle the input very well. Having this removed and having the mic cleaned properly will lead you to an audio experience you simply wont believe.

I'm a huge fan of the Royer line of ribbons. They're quite a bit hardier than most of the others.

I'm going to second third and fourth the Audix D2. These little mics are incredible One of the best tom mics and placement is a snap. Not just for percussion however....they are very good on electric guitar cabinets and if you ever have need of a harmonica mic that needs to be clean....ala: the harp player makes all the tone with his hands and mouth, this mic kills for that. Not that overdriven blues harp sound like a crystal mic.

With the QTC's and maybe a set of Shoeps you probably dont 'need' any other SD condensers, but no mic collection is complete without a pair of SM81's. They have their own stamp and sometimes it is so right that even mics costing much more cannot complete the task as well.

Thanks a million for everyone's input. I've somehow forgotten how many great mics there are out there. (Oops... time to look at that budget again.)

On the dynamics, I'll definitely go ahead and pick up a RE20, a few D2s, a SM7, a few more SM57s and 421s, and a 441 or two if funds permit.

Dave, thanks for reminding me about the SM81. I agree with you completely that these are a worthwhile add (it’s been a while since I've worked with one), which also reminded me to add a few C451s. I think those plus the QTC40s and the Schoeps should hopefully have me covered in SDC territory.

I'm really struggling most to identify the gaps in flavor of the LDCs. To be honest, I know nothing about vintage mic shopping, so I have great fears of setting out to find a good U87. I thought about adding two C414s (XLS) as a neutral LDC, but thought that might be a slight duplication on behalf of the 4050s already in hand. I've really enjoyed working with the Bock 195s and the 251. Any suggestions on a U47 sound alike? What about LDCs for recording grand piano since I run in to that frequently?

Thanks again everyone.

I think you have enough mics but 13 is a scary number.

So add an LDD and a ribbon mic

re-20, atm-25, D112, beta52 $150-$400

royer 121 $1,300

Options on what to do with the remaining $8,000+

1. buy a motorcycle and tour the country.
2. invest it in the market place (mutual funds) once it bottoms out.

THANKS!

I concur with the DaDog, one must really own at least one SM81.

And I have gotten some great stereo recordings and tracks through the years with my 20-year old pair of AKG 452's.

As for a LD mic, the AT4047 is another very good sounding and a great value choice that would complement that list. It has worked in it's way in my must have list.

try a beta57A for guitar amps.

+1 for the Shure SM7, cheap and excellent on almost anything.

Welcome to Recording dot Org Parloursound!

I checked out your site and I must say your studio looks great, the site is clean and very well done, your equipment list is quite good and you obviously get a great sound out of your beautiful room.

Again, welcome.

We are always open to professional opinions here. We have a large segment of our population at a learning level....even the old pros! And input from a professional facility is something we can look to for actual in-use hands-on experience rather than hearsay or opinions derived from a review.

I also see by your equipment list that you use several pieces from SPL. We offer that line in our Pro-Shop here at R.O. and I know its a company that doesnt get a lot of play here simply due to unfamiliarity with the line.

Any information you'd like to share in relation to these pieces would be ideal for our situation here. Perhaps even a review to be posted for all to read. You may contact me(Davedog) or audiokid if this interests you at all.

On a more personal note, I see you also list an SE 2200 mic. This is one I have not had the chance to try and am very intrigued by these past couple of years. Anything you'd be willing to impart on its sound would be appreciated. I'm looking for another LDC to compliment my elderly U87.

I hope your time , should you decide to make a habit of visiting our little village here, will be as good for you as for us.

Thanks again for signing on............

I had occasion to visit Parlour Sound a couple of years back just as they were getting their re-vamped studio up and running. Lovely studio, professionally run - they get the thumbs-up from me.

Get a pair of Neumann 184's. Acoustic guitar and OH. Strings, Piano's, Percsusson, all kinds of things really. They are liquid and manage to preserve detail without getting harsh.
+1 on the Heil PR 40.