Audio Technica 4033.

As usual, I agree with Da Dog, but would also add, (if your budget is a bit bigger) the AKG 414s.

The adjustable patterns and pads make it a real workhorse. Not always perfect, but never bad. At anywhere from $400-600 typically new or gently used you could do a whole lot worse.

Phil

This, I think is actually a pretty good mic question for a change.

If you are on a super budget the AT2020 is amazing for the price.

Second the 414. Top notch, versatile, solid mic from my experience.

Doubt you'd nail things and such with it, though.

Well, the 57 combines low price with "widely used in pro recordings since dinosaurs roamed the earth." I don't think any condenser fits the bill exactly - though it depends on your definition of the word "low." At least the 414 fits the dino category. And since the most obvious dino condenser - the U87 - is three times the price, I guess you can call it low price.

But it's not the official condenser mic of the President of the United States. And the secret service is not trained to use it as weapon.

Good mics! U87 414 , 4033 etc....
but $$$$!
A live band in a room... just one $400 mic on each instrument will be minimum $2000!
And then when I open all the mics at the same time who know ...

So...57's on piano, cymbals, vibraphone ,upright bass ?

I think I'd vote for the Oktava MK-012 - especially when they were available for under $100.

MK012

I have two stereo pairs with all the (small) patterns, I like 'm a lot
I use them on overheads, choirs, main stereomics on jazz and other accoustic ensembles, piano, etc.

Their only main downside is:
very very low frequency stuff caused by air flowing, plosives (p-sound), handling noise
so to me it's absolutely useless as a close up vocal mic
and so you do want shockmounts for these

cheers

ineedtolearnhowtorecord wrote: Good mics! U87 414 , 4033 etc....
but $$$$!
A live band in a room... just one $400 mic on each instrument will be minimum $2000!
And then when I open all the mics at the same time who know ...

So...57's on piano, cymbals, vibraphone ,upright bass ?

Dear ineedtolearnhowtorecord,

youneedtolearnhowtorecord. Unless I'm in a great room that is well treated I can't imagine using condensor mics all over the place. Don't make the assumption that dynamic = bad, condensor = good. I'll take a good dynamic over a cheap condensor most of the time.

If I had the instruments you listed- on the inexpensive side I'd go. SDC's on the piano (love the Rode N5s), 57s,SDCs or LDCs on the cymbals (the Studio Projects B5 or suggested ATs or Oktavas)- depending on the drummer/room, 57's on the vibes- good rejection. RE20 (dynamic) on the bass. You're just over 1k with lots of options for the future and you're averaging $100-200/mic.

Best advice I can offer...don't buy something you will need to replace. I could forsee a use for any of the mics that have been mentioned by me or others. Take note what have not been mentioned - no Guitar Center specials.

Rejection,
I guess dynamic mics are better for a band in a small room,
But how you mic a piano, vibraphone , drums, upright bass and other acoustic instruments with a dynamic mic?
I don't like that close mic sound ...

ineedtolearnhowtorecord wrote: Rejection,
I guess dynamic mics are better for a band in a small room,
But how you mic a piano, vibraphone , drums, upright bass and other acoustic instruments with a dynamic mic?
I don't like that close mic sound ...

This is where you start learning about polar patterns and frequency responses off-axis. These little tidbits not only help you choose a mic for a specific purpose, but also give you hints as to where to START your placement.

AT3035, great mic for everything, and its cheap