I'm sure this question has been asked a hundred times, but what's the best mic you can buy for recording for under $500? I was looking at the Shure SM7b and possible getting a second SM57 too. There are so many to choose from so do you have any suggestions? I've only ever used the SM57 and an AKG Perception 220.
This mic will be primarily used for vocals, acoustic guitar and some percussion (djembe, shakers, etc.) miking.
Comments
I have an SM7B (amongst many others), and it's OK, but I have fo
I have an SM7B (amongst many others), and it's OK, but I have found it a bit limited. I like the Heil PR30 for vocals, and the E-V RE20 is good for that (and much more). Unless you have a really good, well-treated room, you will want a mic that has a very tight pattern to minimize the "room sound". The RE-20 and the PR30 are both VERY good at this.
Sorryto disagree, but he hasn't have to say or stipulate any roo
Sorryto disagree, but he hasn't have to say or stipulate any room for both listed mics... I have worked with both several times in several rooms and in several situations and the results were more than good and I can say that they were evenmore than I expected! They are stupendous Microphones! I own the C 451 B, bought on ebay (Europe) as new and cost me 200 euros (270 USD)... so it's just a question to be active and searching...
I disagree...The room DOES matter in this situation, and a conde
I disagree...The room DOES matter in this situation, and a condenser in a basement with the dimensions posted -especially the low 8-ft ceiling- can be a problem due to standing waves.
I have owned and used more than a few AKG C451/452's in my many years...they are great in the right room for the right source (and acousic guitars are one of those). Over in Europe, AKG mics can be found for a LOT less than what they are going for on e-Bay here in N America...
And the 414, I'm not a big fan, but in any case, the price of that mic over here is even more. LD dynamics can work much better than an LDC in a less-ideal room due to their less sensitivity and tighter pattern...
Well, standing waves with or without a condenser mirophones you
Well, standing waves with or without a condenser mirophones you will have it... dynamic microphones has less sensitivity, but they will catch it as well. Since the C451B has a tigher pattern and has frequency roll off pad and dB attenuation pad you have more control over it (standing waves), since stronger and bigger standing waves come from lower frequencies. I'm talking about this specific one 'cause I know how it works, how it sounds on different situations and on different acoustic environments... it will do what you want and even more!
Unless you are using a Large Diaphram mic with some sort of gobo
Unless you are using a Large Diaphram mic with some sort of gobo or a reflextion filter, the room is going to make a lot of difference in sound quality. Especially the sensitivity with the AKG's. Sure they will sound good in ANY situation, but they really need a good room and a great mic pre to really shine.
I'm with Moon on this one. At that price range you can get a really high-end dynamic and save the rest of your money for more room treatment.
And AKG's 414's are well over $500 here in the States, used, in high quality shape. Every now and then you can find a bargain, but certain brands built in Europe have a decidedly lower price there than here. Just like gear made here is probably more there.
See the problem here is that for under $500 no one agrees on a g
See the problem here is that for under $500 no one agrees on a good Large Diaphragm Condenser (LDC). The lowest price where you get a bunch of consensus picks is about $700 or so (new). Under that and you get mics that a few people like, a few are OK with, and a lot of people get tired of quickly. And an LDC is what most people would pick for a workhorse that would do all the tasks you want. On the other hand, all (?) of the dynamics are under $500, but would not be my choice for acoustic guitar. Still, they will minimizes the interaction with the room, so they might be the best bet. I'd add the Sennheiser 421 to those mentioned above. There are also a bunch of good SDCs under $500 (I have the Rode NT5, NT55, Sure SM81 and there are others). These are probably not what you want on vocals, but would be great on your other sources.
Bob brings up a good point (which happens a lot here!). The Shur
Bob brings up a good point (which happens a lot here!). The Shure SM81 is a great mic for acoustic instruments and percussion and works well in a less-than ideal environment. I haven't tried mine on vocals, but Dogg has posted that this mic can work surprisingly well on vocals...maybe there's the answer.
Yes, usually I stick the SM57 behind the PoP filter next to the
Yes, usually I stick the SM57 behind the PoP filter next to the AKG 220 so I can pick the best sound. I blend them together, but generally turn up the SM57 and the AKG down because I like it more. The analyzer shows the frequencies being nearly identical between the two mics with the exception that the SM57 picks up a little more of the highs and has a little more sparkle to it. I want a better mic suited more for the vox and if it can be used on instruments too, it's a bonus.
I should probably make myself some bass traps for my little room too.
If you can find a used AT 4060 or 4047 in your price range then
If you can find a used AT 4060 or 4047 in your price range then that is what I would advise. New however these exceed your outer limit by several hundred dollars. The Dawg is spot on with why you haven't received a recommendation yet. And used is always a crapshoot from someone like eBay.
Davedog, post: 365166 wrote: I'm going to be testing a new ribbo
Davedog, post: 365166 wrote: I'm going to be testing a new ribbon mic I just bought in the next few days. Avantone. Nicely built and supposedly great sounding and well within your budget. Standby for more.
I was going to mention the Cascade Fat Head, but I thought I'd push for something that was more of a long term investment. I'll be interested in your review of the Avantone. I'm happier with my Fat Head II pair than I would have thought with mics at that price. I would not recommend them for vocals, but it would be interesting to see them compared to cheap condensers. I wouldn't think that a cheap ribbon would be easier to make than a cheap condenser. Is that wrong?
I use 414XLS pair all the time recording classical chamber music
I use 414XLS pair all the time recording classical chamber music and orchestra. I would probably skip the 451 and roll back to the 460 with both card and omni caps. The 460 is smoother. Alternatively, get a pair of Mojave MA100 for your SDC. They are better than either the 451 or 460. Currently I'm playing with Royer ribbons. I like the overall sound better than the 414 but the positioning is more critical. Get your workhorses before going with exotic.
BobRogers, post: 365050 wrote: See the problem here is that for
BobRogers, post: 365050 wrote: See the problem here is that for under $500 no one agrees on a good Large Diaphragm Condenser (LDC). The lowest price where you get a bunch of consensus picks is about $700 or so (new). Under that and you get mics that a few people like, a few are OK with, and a lot of people get tired of quickly. And an LDC is what most people would pick for a workhorse that would do all the tasks you want. On the other hand, all (?) of the dynamics are under $500, but would not be my choice for acoustic guitar. Still, they will minimizes the interaction with the room, so they might be the best bet. I'd add the Sennheiser 421 to those mentioned above. There are also a bunch of good SDCs under $500 (I have the Rode NT5, NT55, Sure SM81 and there are others). These are probably not what you want on vocals, but would be great on your other sources.
BobRogers, you mention that there are consensus picks when you reach about $700. Could you (or others reading this) please list some of these. Thanks
Just to add to the pot, you might be interested in watching Rona
Just to add to the pot, you might be interested in watching Ronan's latest video about his love affair with the Shure KSM32. It's a $500 LDC.
[[url=http://[/URL]="http://ronansrecord…"]Shure KSM32 microphone and bongo ties review | Ronan's Recording Show[/]="http://ronansrecord…"]Shure KSM32 microphone and bongo ties review | Ronan's Recording Show[/]
I'd second all of the mics mentioned above. Probably should add
I'd second all of the mics mentioned above. Probably should add the Shure KSM42 which is just above $700. I might add the Kode K2, though it's probably too distinctively "tubey" to be called a consensus pick - a good number of admirers though.
Prices have shifted since I've looked at these. Has the street price for the 414 been $1K for that long? And I thought the KSM32 was over $600. Not paying attention, I guess.
Well, I plan on putting it through its' paces this weekend. Init
Well, I plan on putting it through its' paces this weekend. Initial testing when I was scrutinizing it at the time of purchase was that it does have a very clean, detailed midrange on my baritone-ish VO voice. I am looking forward to trying it over a drum kit. I also want to try it on my Rodriguez classical that in the past has been mic'd with an 81.
OK, so here we go... I work with this big band that does these b
OK, so here we go...
I work with this big band that does these ballroom gigs at the regional Ritz-Carlton. The band's leader is a great Buddy Rich-style drummer who doesn't like a bunch of close mics, he plays like he wants to sound, so my job is to simply capture that. Depending on the gig, it will be a kick (ATM25 or Heil PR40), a snare (57 or i5),and an OH (SM81 or EV RE200-a real "sleeper" IMHO). So last night I took the KSM32, plus the PR40 for the kick, and I had the i5 onhand in case I needed more snare. A quick test of the PR40 yielded a deep and punchy sound, that's just right. Then I threw the fader up on the 32...OMG!!! I couldn't believe my ears: the cymbals were so CLEAN and defined, the toms were full and in good balance, and the snare cracked through it all absolutely beautifully. Two mics on the Pearls and I was a grinning idiot...LOL!
Anyway, I am very happy with the KSM32, it's a real deal at the new price of $549, and a steal at the $275 I paid for it used. I plan on doing a little more comparing it against two more mics I bought yetserday - a Neumann U87Ai and an AKG C414XLS- that was an even better deal...blog to follow. I CAN say this: that the build quality of the 32 appears to be very substantial and as solid as the U87, and its' shock mount is much better designed than its' German counterpart.
Next, testing the mics with my classical guitar....
Shure SM7B I would highly recommend the Shure SM7B. It is a gre
Shure SM7B
I would highly recommend the Shure SM7B. It is a great dynamic mic that is known to rival much more expensive condenser mics. It offers tonal flexibility via the bass rolloff and treble boost switches and has awesome presence and clarity at the same time. I recently wrote an article on it @ Gear-Wiki, more here: [[url=http://[/URL]="http://www.gear-wik…"]Shure SM7B : Gear-Wiki.com » Microphones » Dynamic[/]="http://www.gear-wik…"]Shure SM7B : Gear-Wiki.com » Microphones » Dynamic[/]
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