Nice list, thanks Kurt. Many of us with personal studios can benefit from it as well (although in my case not the whole list). :lol:

One curious ommision was the AKG 414. Is this no longer considered a studio standard or is it's ground covered by the others enough that it's not necessary? Thanks again!

You're right ... the omission of the 414 was an oversight ... altough in the context of "the list", 414's may be redundant ... perhaps a substitution of the AKG "pencils" or perhaps the ATM 4033's for the 414 would be an option ... I'm trying to hold down the costs.

Once again, these are my choices ... opinions and milage may vary ...

Once again, these are my choices ... opinions and milage may vary ...

And some great choices they are!

Thanks again for the explanation and list.

kurt how about a mic pre list?
for different uses would be great too...
drums, bass, guitars, vocals, keys

Mic pres are a different thing ... so much is subjective and depends on the level of the studio, if their interfaces have pres, if they have a console or not and many other things ... (too much to list) ...

Rather than a list of specific pres, it would be better to look at the criteria of what makes a good mic pre.. I posted a list like this, of what I thought makes a good pre, just a little while ago ... I'll look around to see if I can find it.

thks kurt...

since we're on the subject what do you think are tube mic pres limitations? you think they don't fit well with some instruments or vocals or whatever? or are they always good?

OK I found the post ....

"I will usually go for Class A, transformer balanced, all discreet, point to point wired, mic pres and compressors. With the exception of a few, the devices that use LSI chips, op amps and surface mounted components are not desirable to me. There are a few exceptions like the Focusrite Red range, API's, Neve Amek 9098 series and the JLM TMP8, all which use chips or op amps ... The 9098 does not have transformers either and relies heavily on chip technology as well but the EQ in it so good I overlook that. ."

"what do you think are tube mic pres limitations? you think they don't fit well with some instruments or vocals or whatever? or are they always good?"

I don't think there are any real limitations to tube pres to speak of .. perceived as an issue is they tend to have a higher noise floor but if you know how to record correctly, it's not so much an issue ... (hint: signal masks noise) ..

I have mentioned before ... many of the recordings I think are the best ever done were recorded using all tube gear .. mic, pres, comps recorders ... I would be able to do good work with only tube pres ... as well as with only solid state ones .. I do believe that what you record, is much more critical than what you record it with .

so what's your favourite combination for vocals?
mic, pre, compressor and or anything more?

It's impossible to make a blanket statement like that ... too many variables. Things like voice, song, genre', which mic is best suited will also dictate certain pres be used ...

One combo for my voice I have found to be very nice is the Sebatron VMP with a Neumann U87ai ... I also really like the Great River MP2NV on just about everything I have tried it on ... this IMO may be one of the most versatile pres I have come across to date ... I can't think of a single instance where I have put the MP2NV up and then said, "ohhh, let's try something else".

Mics I tend to prefer on vocals..
U87, ATM 4033's, AKG 414 or C12 ... the C12a is nice as well but can be a bit noisy on quiet sources.. I like the RE20 and the Shure SM7a in the dynamics department but for a soft, quiet female vocals sometimes a 421 works well ... a real surprise for me was the AKG D112 on male vocals ... very nice sometimes. This is why it's nice to have a mic locker that offers choices. It all depends on the before stated criteria,

As to comps I lean towards classic or classically inspired pieces like the URIE line ... LA2a, LA3, LA4's ... 1176 / 1178 ... a little known but nice comp is the UREI LA22 ... of course the DBX 160 ... I have a Manley EL OP that I really like ..

The thing I like about the opto types is they are simple to use and unless you try to pull out like 15 dB with them, they are relatively unobtrusive, not adding a lot of artifacts.

i just bought a c414 tlII for vocals and guitars... (i'll try it on hi-hat too till i get a c451b)
the d112 i want to try on male background vocals! i think it can be interesting or maybe on some vocals with that old radio feel (it can balance that eq highs... i think...)
as for the sebatron is on my whish list as it is the maybe the tmp8
have to see budgets (wanted to try focusrite octopre, m-audio octane, rme octamic) the tmp8 i know i can't try but i can see the results from this ones with your review kurt...
the thing that it's getting me really mad is acoustic treatment! here in europe auralex and other companies have their prices at least 2x more than there...

do you tend to use the compresser always on the recording stage?

Kurt, many thanks for this thread and the excellent recommendations....

Could you say what constitutes a set of 'minimalist' mics - ie for doing rock / pop / jazz & vocals but capping at say six or eight mics?

In other words, find $Cheap replacement for 421s and alternative to the U87 pair?

I'm at the stage where I have need for batch of drum mics, the SM57 (3), AKG D-112 and C 418PP clip-on condenser. Also, have a stereo pair of the Rode NT1-A (and another Rode in storage).

Today's recording also finds me doing a lot of acoustic gtr.

michael_midfi wrote:

Could you say what constitutes a Cheap replacement for 421s and alternative to the U87 pair?

The "list" is a bare minimum for what I would consider a respectable studio. The U87ai offers multi pattern operation ... as does the AKG414 ... You can perhaps substitute the 414 for the U87 but the 414 is a more "focused" mic ... it doesn't pick up ambience as well ... I also would recommend the Studio Projects C3 as a replacment for the U87 but again, you are now entering "cheapo land" ..
As a replacment for the 421's, SM57's are surprisigly good .. you could also try the Sennheiser 609. .

Hey Kurt, great list!

I notice that you do not list any ribbon mics. Any comments there? I am considering adding a ribbon to the collection for bit different flavor.

Either the Royer 121 or the AEA 44 / 77's are nice modern ribbons ... The Coles 4033 is a classic design that can be purchased new. All these are good. I wouldn't but a used ribbon mic unless someone like Wes Dooley had checked it out.

I usually shy away from ribbons because they are so expensive, delecate and need to be handled with care ... You can ruin a ribbon mic just carrying it across the room .. Plus I'm the kind of guy that usually winds up boosting a bit in the "air" regions, so what's the sense? ... I usually lean towards condensers.

A slightly different take on the mic list Kurt has put here- Instead of the U87, perhaps a Microtech M930 or M70 to save a few bucks (and IMO get a bit better sounding mic- really depends on your vocal use, though).

I would suggest a ribbon in there as well. You can get Beyer 160's pretty reasonably priced on the used market- I bought mine for $300/ea and they are bulletproof. The Royer 121 and 122 are also very hardy microphones. Heck, I've seen them survive being placed on a kick drum. I wouldn't suggest it unless you know how to place it, but it certainly is a way to go.

The Beyer M88 is another very versatile dynamic. It can be used quite effectly as a vocal and instrument mic. Also works pretty well for acoustic bass- although I prefer some of the other mics on the list for that.

--Ben

AT 4033? Hm, this s just home recording level, isn't it? I am using 4047 which I would rate at least to be a semi prof studio mic.

Another comment: Forget about the U87. YOull find the same capsule in the TLM193 for the half of the price. Also AKG 480 are obsolete: Use a MBHO 603+cardio LK100 capsule. Incredible clean quality for only a bit more of the prive.

The 4033 is not home studio level only mic ... many respected engineers use this mic for it's tight focus with crisp clean yet large sound ... This is a mid size diaphragm mic with a 3/4" element ...unlike most others and unique for the most part.

The U87ai is a dual diaphragm mic and this is why I recommend it .... To my ear mics with 2 diaphragms sound a bit different that mics that employ the same diaphragm in a single element configuration .. The ability to use the mic in fig 8 and omni is a plus ... you will notice the other mics in the list don't have this ability so IMO, the U87ai is a great addition to the list. Plus it's a Neumann ... It's a U87 .... nuff' said!

Also AKG 480 are obsolete

I'm not sure why you say that ... I have both vintage 451's and some AKG 460's (which the 480 is a updated version) and think the 460's are quite a bit warmer in tone that the 451's ... but neither mic is IMO, obsolete. It's virtually impossible for a mic to be obsolete ..

The criteria I used to assemble this "list" takes into consideration more than "what sounds best" ... Name recognition and application, the ability to have some alternatives / choices, what will make the room the most viable to a producer who is shopping studios, all are considered. Many producers or engineers (talent e-ven) will have other more esoteric pieces to supplement your mic locker, or may rent some higher end pieces for the sessions, so in that light I feel "the list" is pretty spot on.

If 26 mics is the bare minimum for a studio, then you're right: Life IS meaningless, death IS inevitable!!!

For the rest of us, with finite bank accounts, however, this presents itself as a little unrealistic. I think what you mean is that this is the bare minimum for a studio where you would invite a big name artist in, expect to be paid large dollars, and not want them to be driven elsewhere by your 'meagre' mic array. Is that really what you mean?

I do appreciate your caveat that 'WHAT you record is more important than WHAT YOU USE to record.'

A few counter punches:

Tom Schultz used all SM-57s on Boston's first.
Blood Sugar Sex Magic was recorded almost exclusively on sm-57's(and a pair of C414's for overheads). Most of it was done with one 'sweet' SM-57 that just seemed to work on everything.
Apparently Michelle Shocked recorded her first album on a walkman. It costs more to buy than to make.

Okay, let's go in a different direction:

You are going on the set of SER(Survivor, Recording Engineer) You will be stranded on a desert island with a 24 track recorder and a board. You have to record the world's greatest band...um...Electric Mayhem, from the Muppets, they have Kermit doing guest vocals.

So you have a drum kit, vocalist, saxophone, keys, bass guitar. You can record each instrument seperately if you wish. They will be doing a few ballads( "It's not easy, being green" ), some jazz, and a few rock tunes for good measure.

Here's the trick, you are allowed to take:
4 mic pre's
6 mics
4 channels of compressor/limiter

There is a canyon on the island which provides natural reverb. You get no noise gates, no effects, no other toys, no click track (you can depend on Animal)...and if the recording isn't smokin' you WILL be voted off the island.

What are your choices of mics, pre's, compression?
......GO!!!

Happy choosing, and see you at tribal council
Cheers
Keith

LOL!

Great post , Sir red pill...
.
I don't know jack to contribute to discussion, just wanted to say funny, creative and good exercise...now maybe I'll have a good idea of which to buy first...

If 26 mics is the bare minimum for a studio, then you're right: Life IS meaningless, death IS inevitable!!! ..... For the rest of us, with finite bank accounts, however, this presents itself as a little unrealistic.

I'm not sure what planet you live on but as far as I know, no one on earth has ever lived forever .... so I think it's fair to say death is inevitable ... as far as life being meaningless, that is a philosophy, not a hard cold fact ...

The list as intended is a guide for someone who wished to start a respectable studio ... it is a guideline as to what clients would expect when booking a room.

It is also intended as a guide for those who will be tracking live drums, bass, guitars at a minimum all together in one pass ... sure you can do one thing at a time .... but that takes a lot of time and energy and the results usually aren't as good as if you track the band all together. I thought it was explained clearly why you would be expected to have all the mics on hand ... but here goes again, just to clarify.

Neumann
U87ai w/shock mount & box (one)
$2500 for vocals, room mics, acoustic instruments, guitar cabs .... nothing else compares. Simply an industry standard. Not the best mic in the world but a classic question is "Do you have a Neumann?" The U87 is a dual diaphragm mic, and has a sound that the less expensive single diaphragm mics don't.

Shure
SM57 (four) drums, guitars, vocals etc.
$ 360 Ya gotta have 4 of these things (or more)

SM7b ( one) bass amps, kick, vocals.
$ 300 You can live without it but again, a standard. Sooner or later your gonna want one.

ElectroVoice
RE20 (at least one) bass amps, kick, vocals,
$ 300 Ditto .... You can live without it but again, a standard. Sooner or later your gonna want one.

Senheisser
421 (four),drums, guitars, vocals etc.
$1200 hyper cardioid pattern for toms ... guitars, one isn't enough.

441 (one) vocals, horns, woodwinds, snare, kick.
$ 700 (price amended) This you can live without ... but it's nice to have one ....

409/609 (four) toms, snare, guitars, vocals etc.
$ 400 these you don't have to have either

Beyer
201 (two) snare, guitar amps, vocals etc.
$ 400 I have these, an alternative to the 57, warmer without the presence boost of the Shures.

AKG
451 or 460 / 480 (at least three) acoustic instruments, drum overheads, hi hat.
$1000 Any good studio will need at least 3 pencil condensers for drums .... Shure 81, or Neumann's whatever ... I like the AKG's

D112 (at least two) kick, floor toms, bass amps, guitar amps, vocals.
$ 400 At least two in case you get a drum kit with double kicks

AUDIX
D6 (at least one) kick, floor toms.
$ 200 Bass instruments, kick drums ... it's nice to have options ... the D112's won't work on everything ... the D6 is pretty cool!

Audio Technica
4033 (at least two) toms, drum oh's, guitars, horns, woodwinds, vocals etc.
$ 800 These babies come out for vocals more than you would think... also great on drums ... truly the closest you will get to an all purpose mic. Again, it's nice to have some options.

I am not stuck on a desert island ... and if I were I would be thinking of other things than recording ... LIKE WHAT I WAS GOING TO EAT AND DRINK AND HOW TO GET OFF THIS STINKING ISLAND AND BACK TO MY RECORDING STUDIO!

For the rest of us, with finite bank accounts, however, this presents itself as a little unrealistic.

I think it's unrealistic to think that you can run a room or make a record with less ... of course, this topic has nothing to do with the hobby recordist or others who who work with drum machines, loops or samples .. those who don't record live drums or record live rhythm sections all at once. An acoustic solo instrumentalist could get by with much less as well, as could those in many other scenarios but again the topic is aimed at people who wish to start a facility for use by clients who will be doing live tracking and is intended as a guideline for that application.

I have recorded all by myself, with midi instruments and drum machines, using samples, just about anything you can think of. I prefer to record live rhythm sections because to me there is more excitement in the music, more tension and release ... so I think in terms of that.

RichardOtt wrote: AT 4033? Hm, this s just home recording level, isn't it? I am using 4047 which I would rate at least to be a semi prof studio mic.

Another comment: Forget about the U87. YOull find the same capsule in the TLM193 for the half of the price. Also AKG 480 are obsolete: Use a MBHO 603+cardio LK100 capsule. Incredible clean quality for only a bit more of the prive.

The capsule in the U87 is not the same as that found in the TLM193. The 193 capsule is related to that in the TLM 170, but is not connected up the same way (Someone correct me if I'm wrong, but isn't only one of the diaphragms connected to the electronics?). The TLM-103 has a mutilated version of the capsule from the U87. That's not a criticism of the 103, but it's not a cardioid version of a U87.

I have an AT4047, and I'd place it higher up than a semi-pro mic, but of course that's a matter of taste.

My current desert island mic for vocals is the AT4060. It's a wonderfully classy mic.
John Stafford

O Kurtish one:

Okay, okay, I didn't read the fine print before I had that minor aneurysm. You were talking about a pro studio, I was talking about Joe Sixpack in his basement recording his version of Smoke On the Water in between downloading porn and trying to keep the bong going.

As for anybody on earth living forever...well a discussion on that would just open up a can of worms bigger than the issue of mics. Two billion Christians can't be...well they could be wrong, but then it depends on your definition of living forever, and there's probably a forum for that too...

Sorry, but I'm a sarcastic one. In fact, I feel one coming on right now.(cut to me doing Meg Ryan in the diner in When Harry Met Sally)

Back to reality.

u sez:

Neumann
U87ai w/shock mount & box (one)
$2500 for vocals, room mics, acoustic instruments, guitar cabs .... nothing else compares. Simply an industry standard. Not the best mic in the world but a classic question is "Do you have a Neumann?" The U87 is a dual diaphragm mic, and has a sound that the less expensive single diaphragm mics don't.

I asks:

So what IS the best mic in the world?

I'm anticipating the gasps from the audience as you tell us what it costs.

In the time span of that sudden inrush of air I'll ask question number 2...What is the best mic in the world under $1200?

Thanks
Keith

Kurt Foster wrote: a real surprise for me was the AKG D112 on male vocals ... very nice sometimes. .

Then I'm not crazy! I used a D112 on vocals on a track I did for a local band. I have it posted if anyone wants to hear. Would love to hear what you think of my humble recording, Kurt.

(Dead Link Removed)

Not surprising ... The AKG D112's predecessor, the D12 was originally intended for V/O broadcast and voice applications ... It was co opted as a kick drum lo freq mic by recording engineers ... Original D12s are now a bit scarce and command high prices .. The D112 while ugly carries on the tradition.

As to a "best" all around mic ... no such animal ... if there were there would be no other mics on the market ... everyone would just buy the "best" one.

I do think as an all purpose all around mic the ATM 4033 is probably the closest thing there is ..

Something New
Since I first compiled the "list" I have had a chance to use and hear a new mic, the HM-1 from a new advertiser on RO, KEL Audio. I saw the ads and my interest was peaked so I contacted Kelly Dueck, the owner of KEL and he sent out a pair of them for me to try out.

At under $100 list, this mic is very cool "in my opinion". It has a 1/2" diaphragm, is a true condenser side address mic with exceptionally sturdy construction ... and a very solid metal mic clip like that found on some Neumanns and Rode mics ... the kind that have a ring collar on the bottom that screws on... The mic looks like a miniature LD condenser mic and everyone has commented "how cute" it is .. One thing that really impressed me was that each mic comes with a print out of the frequency response plotted out on a BK analyzer. I have only seen this with the higher end mics like Neumann or Sennheisers previously.

KEL audio says the mic is best for applications where you need to roll out the highs a bit .. but I think it is really just more "flat" than actually rolling off highs. I does lack the "presence peak" that many modern mics have. The response plot shows the on axis frequency response as remarkably flat.

The HM-1 has a very smooth response that was well suited for guitar amp micing eliminating that static distortion that can be so hard to get rid of. When compared to a U87 through a pair of 9098 pres on a clients vocals, I was very surprised to hear how similar the two mics sounded. A poor mans U87? Not exactly but very close.

It sounded good on my vocals as well. For laughs, I recorded some vocals with the HM-1 through my Mackie SR-24 mixer and I was very surprised at how smooth and warm the results were. I choose the Mackie on purpose because it is a very common mic pre that a lot of home recordists have available and as this mic is priced at the lower end, my thinking was the Mackie was more than likely the kind of pre that would most be employed by users. The HM-1 really smoothed out the slight harshness the Mackie can impart .. making the results sound like they were done with a more expensive mic and pre. The HM-1 would be a great addition to "the list".

Frankly, I do not see how KEL is doing these mics for under $100 .. If the HM-1 sounds like something that might interest you, you should snag up as many as you want, before the prices go up or KEL runs themselves out of business selling these things at what must be close to "cost" ...

I'm planning on puchasing the ones I got!

Thanks, good information.

As for how someone can make a good sounding mic for under a hundred bones? If I had to guess, I'd answer with two short words:

CHI NA.

Not that that makes it good or bad, but that's probably how they do it.

Keith

Yes, they do in fact manufacture in China, just like almost all other mic OEMs with products in that price range.

Yes the HM-1 is manufactured in China ... Still I do not understand how they could sell this mic at under $100 with shipping ...

I find the HM-1 to be very well built ... more along the construction quality of an ATM mic rather than say an MXL ... and the stand mount is a thing of beauty ... Just like the ring collar adapters used on the Neumanns ... very sturdy, all metal, no plastic with brass inserts sh*t like the Rode clips.

My wife loves them ... "They're cute".

These things are at an introductory price of under $100 but don't expect that to last ... Just like the Sebatron pres, as soon as these things get a foothold in the market, a lot of people will be bummed they didn't snatch one or two up at the under $100 (including shipping) price. I'm keeping the ones that I got.

KEL offers a free 21 day return policy ... so you simply cannot lose by trying them out ..

Good stuff this thread.
So the HM-1 is pretty rockin', any thoughts on the HM-4?
Also, if I may sum-up:
Say one were to record drums and bass in a pro studio, all one would really need would be two (or more) of the following mics to take care of the rest:
HM-1
AT 4033
SM57
KM 184 (one of my faves anyway)

And as for a pre, would that Great River you mentioned be an excellent all-purpose pre?

I'll ask for the HM-4 as soon as I finish the review on the HM-1's and pay for them ..

THE MINI LIST?

If you had 6 SM57's for snare - toms- guitar amps, 2 HM-1's for amps - vocals - toms, 3 KM 184's (I personally would lean towards a different pencil condensor mic) for hat - OHs - acoustic guitars an AT 4033 for vocals, you would be real close to having almost anything you really need while giving yourself some choices to work with. You don't want to be stuck / forced to use one type of mic on the same applications all the time. You would have to add a kick drum mic or two and perhaps a few DI's to record bass and line sources.

3 KM 184's (I personally would lean towards a different pencil condensor mic)

What do you recomment for recording acoustic guitar (I play a Santa Cruz OM - very even/balanced guitar) ?

We record everything from big bands to pipe and drum corps: this is a list of the ammo in my cabinet. I use 'em all...each has it's own individual characteristics...even between 2 mics of the same type and vintage....just because a mic is an 87 doesn't mean that is necessarily an excellent mic...ya just gotta listen before ya buy....ya can't just buy on a name alone..or so I found out many years ago. Microphones:
Neumann U67
Neumann M49
2-Neumann U87
2-Neumann U89
Neumann KM84
Sony C-800G
2 AKG C414 EB
2-AKG 460
AKG C60 tube mic
Beyer M160N Ribbon
2 RCA BK5A Ribbon Mics
4-Sennheiser MD421-V-5
2-Altec 201
5-Shure SM57
AKG D112
RODE NT4 Stereo Mic
COLES 4038 Ribbon Mic

I'd still like to add a c-24, or an sm-2
...a pair of c-12's would be nice too.
I have a few mic pre's to choose from so by mixing and matching the mics and pre's I can have numerous and interesting combo's.
These are the pre's that I have found work best for most applications.....2 API 512C Mic Pre
4 Ampex 351 Tube Mic Pre
12 Neve mic pre's (in our Melbourne)

If yer interested my bare essentials are listed at:
http://nationaltreasures.ca/gear.htm

Acoustic Guitar Mic

Spiff wrote: 3 KM 184's (I personally would lean towards a different pencil condensor mic)

What do you recomment for recording acoustic guitar (I play a Santa Cruz OM - very even/balanced guitar) ?

I'd probably use an AKG C60 maybe a U89....it really depends on the guitar and the tune......

gone

Great mic kit list....

Kurt, since you offered a cheaper option to the Neumann, could you offer cheaper options for all of them? apart from the 57's and that kind of mic, as they are already in that category. Although we could be daring and say Shure unidynes instead...as they are about half price.

This new list would be for those who wanted similar roles to be fulfilled by their mickit, but either currently treat their studio as an inexpensive training ground for the better mics/gear (while working to earn enough mo' to get the better mics:) ) or have no intention of ever spending that much on mics alone due to whatever reason...maybe they just bought a house or something :)

You know the C3 is an 'alternative' to the U87, in your opionon are there some 'cheapo' options for the other pricier mics?

I'd be interested in this new list for reference even if this 'low cost kit' doesnt earn your full respect or fit into the 'minimum requirement' category !

I'm not asking you to ''endorse' the kit in any way :) you'd be merely satisfying a request and helping some of the poorer hobbyists turned pros out there....till they could afford the better stuff!

there's gotta be a place for this doesn't there?

Guys, check this website out - Electronic Musician magazine editors picked mic cabinets from a minimum number of mics to record a band, to a full studio cabinet - at varying budgets with the goal of getting a professional sound.

http://emusician.com/ar/emusic_build_microphone_cabinet_2/

Spiff wrote:
3 KM 184's (I personally would lean towards a different pencil condensor mic)

What do you recomment for recording acoustic guitar (I play a Santa Cruz OM - very even/balanced guitar) ?

I use a tlm 103 just at the bottom of the neck about 1 foot away and then reamp the balanced out from my acoustic into a second channel, then mix accordingly in the stereo field. I get excellent response from clients who have recorded acoustic guitar in my studio.

an akg c60 is really sweet on a good acoustic guitar

Again...just personal preferences I guess, but there are GLARING omissions from "the list"

- SM7: use for darn near anything...incredible vocal mics.
- RE16/RE15: dynamics rule, baby...they just rule.

There are lots...LOTS...of mic choices that can yield killer results, without sounding just like the studio across the street...

my favourite mic is the Lawson L47 , it's amazing on vocals i'm using it for more then a year and it always worked for any vocal i've recorded , very flattering , it never failed,
It's great for bass , guitars , an amaing woodwinds mic and a killer sax mic , i used it last month for recording two cellos and i've got GREAT resaults , it's also great as a room mic , the only things i'm not using it is for world percussions (shakers , kwika , caxixi ,triangles which i'm using a tlm103 or akg 451460 if i need a bright sound)but it also great for some other percussions like cowbells, tantans, kahon back hole , and a frame drum heaven mic ,it's capturing the overtones very good because of the tube even harmonics distortion.
for the money i think the l47 is the BEST , i've heard of studios that owns a Neumann u47 and prefer to use the l47 for vocals , it's easily outperforms the u87 for just about everything and they cost the same !!! so it does with the 147 , and 149 (with the exaption of pianos) i've heard the Lawson l251 (which i believe is my next mic) is even a crazier mic , the l47 is a must have mic in every professional studio , it's a fat accurate and very detailed sounding mic that is working great with all my main mic pres (1064's , 1081's , avalons, Neumanns, ua's and even old altecs) ,gene lawson who is building them isn't sellin them through audio shops , he sells them directly and that's why they are so cheap, you are paying directly for what you geti guess i'm starting to sound like a lawson sellsman ,which i'm not of course but i would recomand on this mic even if its price was twice as much

thanks for the tip....how do I reach Lawson...