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6 mics/ $1500?

Discussion in 'Microphones (live or studio)' started by profesrgeo, Nov 30, 2001.

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    The New AT5047 Premier Studio Microphone Purity Transformed

  1. profesrgeo

    profesrgeo Guest

    Hi all,

    Its time to expand the mic collection.

    Current inventory includes:
    4 Shure SM57s
    4 Shure SM58s
    2 AKG C1000Ss
    1 AKG D112

    I am looking to add 2 small diaphragm condensers, 2 large diaphragm dynamics, and 2 large diaphragm condensers all for a budget of $1500.

    I am considering the following:

    2 Oktava MK012s (±$300 new)
    2 EVRE20s or Shure SM7s (±600 used)
    2 Rode NT1000s or Studio Project C1s (±$600 new)

    This is for my project studio. The band records live in the same room. I either rent the high end stuff or buy studio time if I need it, so dumping the whole budget on 1 goodish mic doesn't make sense for me.

    Any suggestions from the master bottomfeeders would be greatly appreciated...

    Thanks in advance
  2. hargerst

    hargerst Active Member

    Jan 28, 2001
    Here are some great bottom feeder mics I've found:

    Behringer ECM8000 1/4" measurement mic - $34
    (Great small omni condenser mic for drum overheads, percussion, and acoustic guitar.)

    Marshall MXL-603S 1/2" cardioid condenser - $80
    (Good for acoustic guitar, overheads, some vocals, flute, strings.)

    Marshall MXL-V67 1" Cardioid Condenser mic - $89
    (Great vocal mic.)

    Audio Technica ATM-25 1" Hypercardioid Dynamic - $149
    (Great for kick, floor toms, guitar cabs, low percussion, sax, and bass cabs.)

    Sennheiser 421 Cardioid dynamic - $250 (used)
    (Great for kick, floor toms, guitar cabs, low percussion, sax, bass cabs, and some vocals.)

    Shure SM-7 Cardioid Dynamic - $300 (used)
    (Great for sax, and vocals.)

    Oktava MC012 1/2" w/3 capsules - $300 (Oktava.com)
    (General purpose 3 pattern condenser mics.)

    Lomo 33mm head for MC012 - $200
    (Excellent vocal mic.)

    Beyer M201 Dynamic Hypercardioid - $200 (used)
    (Great for snare, and assorted stuff).
  3. Nate Tschetter

    Nate Tschetter Active Member

    Feb 28, 2001

    Where can one get a V67 for $89? That's a pretty darn good deal.
  4. profesrgeo

    profesrgeo Guest

    Thanks Harvey,

    I'll have to check some of these out...

    The LOMO head sounds intrigueing...

    Thanks again...
  5. Bear's Gone Fission

    Bear's Gone Fission Active Member

    Jan 4, 2001
    Harvey's suggestions are good. (I am completely digging the Behringers.) If you hunt around, you can beat some of those used prices by a decent margin. Might I add:

    Beyer M-88: you can get them new for under $200 off of ebay, good for voice, kick drum, electric guitar and bass, often overlooked.

    EV RE-15: easily had for $100 used, though it may look ugly. Great supercardioid dynamic, almost condensor like in it's clarity. Excels on drums and electric guitar.

    EV PL-5/635a: same mic, maybe less stringent quality control. I have one of each and I can't tell the difference. Omni dynamics, pretty versatile (electic guitar, percussion, some kit, overheads in a pinch). The PL-5 can almost always be had for under $50, 635a runs a bit more.

    I'd say focus on large diaphagm dynamic rather than large diaphragm condensors, espescially for live tracking, and espescially ones with a tight hypercardioid pattern. The hypers can help reduce leakage so you get more source and less effect of imperfect rooms. I find the lower priced large diaphragm cardioid condensors are really loose on their patterns and will pickup a bunch of room sound and leakage, which is a big problem when the off-axis coloration can get squirelly. If you're overdubbing scratch vocals, this is less of an issue, but sometimes the dynamics give a better track, anyway.

  6. hargerst

    hargerst Active Member

    Jan 28, 2001

    I think that $89 may be the price for a refurbished V67 from Mars Music.
  7. profesrgeo

    profesrgeo Guest

    Thanks Bear,

    I have been tempted by the RE 15s, very little off-axis coloration ... would probably yield better and more detailed results than the 58s I currently use. They are somewhat hard to find though...

    Bleed on the large diaphragm condensors probably won't be a problem because all electric guitars/bass are either recorded direct or amped in another room and the drums are behind baffles. We use headphones to monitor...

    Sometimes the scratches are keepers, other times not so a few overdubs do occur

    The little Behringers are also an interesting item. I currently use Radio Shack (!) 33-1052 omni lavalier condenser mic inside a Martin D28 to record. Though its a little noisy it sounds very true. How quiet/flat is the Behringer? The shack mics are rather cheap and flimsy (duh) and thus I have had to repair them more than once after some — shall we say — rather enthusiastic takes. Maybe the Behringer could be an eventual replacement option.

    Thanks again for the input Bear,

    "... but you can mop up dust."
  8. Henchman

    Henchman Active Member

    Oct 22, 2001
    Try the Oktava 319's. I recently recorded a band with the Oktava 319's in a 3mic setup on the kit. To hear what they sound like, go to:


    And listen to the song Randene. 95% of the drumsound is the Oktava's

  9. Henchman

    Henchman Active Member

    Oct 22, 2001
    Oh yeah,

    The shure sm98's or beta 98's sound wicked on toms etc.
  10. sign

    sign Guest

    Hi guys

    I absolutely like the M88 and 201, but the Beyer M69 is a pretty good microphone too, and what about the Sennheiser 441, a really great mic, hyper cardioid with a nice off axis response. Also a great mic for horns.

    Sometimes you just need the compression of a dynamic and Sennheisers are great mics

    But, be always very careful when buying a used mic. I bought two D12's and after a while I found out they didn't sound alike, one had much more low than the other.

    So I went to the AKG specialist and he found out there was a dent in the capsule and it needed a new capsule, not a cheap one :)
  11. Bear's Gone Fission

    Bear's Gone Fission Active Member

    Jan 4, 2001
    Han, the M-69 is indeed a nice mic if you can get a good price. I would hesitate to suggest it simply because generally the cost is so close to a good deal on an M-88 or M-201 you might as well go the extra yard, IMO.

    The MD-441 is also an excellent mic, great quality, great sound, and as tight a hypercardioid pattern as you will see. Just on shear quality, I'm not sure a better dynamic has ever been made. They tend to be pricey, though ($895 list, rarely enough quantity moved for deep discounts), and are rarely seen on the used market. I held off from suggesting it as it might be a budget buster. (There are possible issues of warranty service, but you can get a much better price dealing directly with a German dealer, if you need one and cheap. I'd not recomend this option if you're depending on one for billed time in your studio, just because of possible support issues.)

    The RE-20, mentioned by Geo, is of course also a great mic, capable of recording just about anything reasonably well. The RE-27N/D is an updated variant that can't exactly match the original, but can be tailored for a broader range of sounds. (I think Ty Ford reviewed it and said, while never exactly the same, it could cover most of the territory of the RE-20, SM-7, and MD-421. Damn, that has me interested.) The RE-20, though, is the classic, so it usually still gets the recomendations, plus they show up used all the time.

    I noticed the beautiful part of this thread, the Behringers, MXL-603s's, and Oktavas obviate any need for discussion of other small diaphragm condensors. Usually, it has to be impressed how important it is to allocate funds for this sort of mic, but now less than $250 will get you pairs of the Behringers and Marshalls, so it's almost a non-issue until higher budgets.

    To answer Geo on the Behringers, they are solidly built, with nice, even omni patterns, some noise, but certainly no more than on some similar mics that are more expensive, but most impresive of all, the sound is true to the source. I won't claim it's exactly like being there, it might be a bit analagous to the graininess of a photograph. In some cases you might actually want some more hype (say, a lift in the high end, like the Neumann KM-18x's seem to have, or even some AT mics), but if you want the sound as it is, these are damned nice to have around. Also, the clips are the perfect size for my PL-5 and 635a, so no more gaffers tape needed for those.

  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

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