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Post by M57 on Dec 11, 2016 7:41:57 GMT -6
What are the mics you currently own that you almost never use or never seem to find a good use for. Why do you still have them?
I have a Beyer M69 that I bought probably 30 years ago. I tried it a few times as a vocal mic and moved on.. It's been used once since, when Jcoutu came over to play drums on a tune for me - he put it underneath the snare - (I actually kind of like it there and ended up using it in the mix), but other than that ..Graveyard. I still have it because it looks cool.
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Post by EmRR on Dec 11, 2016 8:52:17 GMT -6
Crown SASSP and EV 642 rarely used, but they are kinda special purpose anyway. My KM140 pair of probably the thing most people would want to use, but I rarely do.
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Post by swurveman on Dec 11, 2016 9:57:54 GMT -6
I'm about to give up on my stereo pair of Schoeps CMC MK4's. I bought them thinking they'd be the key to a great acoustic guitar sound, but that didn't happen. I like them as drum overheads, but I don't record a ton of live drums. I may sell them and get a pair of U87ai's for their overall versatility.
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Post by jjinvegas on Dec 11, 2016 10:15:59 GMT -6
CAD Trion 7000 dual ribbon. Rode NT2, The CAD just doesn't seem to be that useful, looks very cool and I bought it for peanut shells, it sounds good on overly bright Fender-style amps that need a roll-off upstairs. The Rode I seem to forget about, probably ought to leave it on a stand so i remember I have it, as the box it came in is kind of clunky and in the way so it sits in the closet of forgotten toys.....
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Post by Johnkenn on Dec 11, 2016 10:33:57 GMT -6
I'm in a different situation than others, I think...just mostly do overdubs here...so I don't have a need for a ton of mics...so if a mic doesn't work - or doesn't replace another one, it hits the road...Right now I only have three - Upton 251, Gefell M300 and the Samar VL37A. The VL37A is a TREMENDOUS mic. I mean, meaty, punchy, natural on top...but for what I do here, I still tend to lean towards the sheeniness of the SDC for stringed instruments...and the LDC for vocals. So, right now, it's kind've the odd mic out. I honestly think it sounds more natural than the M300...but mix wise, the M300 seems to work for my style of acoustics (little brighter in the mix)...Anyway, I still think I'm gonna keep because it sounds so good.
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Post by thehightenor on Dec 11, 2016 11:34:47 GMT -6
I have a Rode NTV that I stopped using after I bought my Wunder CM7.
But the other day I whipped it out (the mic just to be clear) and recorded an acoustic guitar and thought it actually sounded great through a BAE 1073.
Another perspective is mics I thought I'd done with and regret selling.
For that category, I seriously regret selling my Blue KIWI, it was an early made in Latvia model and sounded really fantastic, I so wish I'd kept it. Doh.
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Post by EmRR on Dec 11, 2016 12:19:10 GMT -6
Yeah, Johnkenn is one end of the spectrum, hard for me to imagine since I don't live in that space. Here there's somewhere between 50-60 mics, and some might not get used for 2 years, but they prove their essential value just often enough to keep them around.
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Post by johneppstein on Dec 11, 2016 15:38:27 GMT -6
I'm of the opinion that you can't have too many microphones - which isn't to say that some mics aren't pretty useless. I have a Rode NT1 that I think has been used once or twice in the maybe 15 years I've owned it, but I haven't sold it because it's not worth anything and I'd feel bad sticking someone else with it unless perhaps they owned a kennel.
I have a bunch of Shure 56s, 57s, and 58s that never get used for anything except if I get a call to do a live punk rock show - they more or less permanently sit in a case with the 421s, ditto on those. Very rarely a 57 might make it onto an electric guitar track but for what we do these days I've got a lot of other choices. My Oktava 012s hardly ever get used anymore, likewise the 319s.
I've got a few e609s that get used on live punk shows (for guitars) and would likely see some use on toms if I still did any live metal, as the form factor makes them easy to sneak under cymbals on the massive '80s style metal kits. Used to use 409s for that but they got stolen years decades ago by a crooked ex-partner.
I've got a bunch of old Sennheiser mics that use the 409 capsule (two Fisher badged 407s, two different models of Grundig stereo pairs) that I haven't got around to converting to XLRs and adding devices that will allow use with a standard butterfly clip - stock they have no real swivel capability and screw directly to the top of the stand or use the weird little Grundig stereo tabletop stand.) Not getting rid of those as I'm quite fond of 409 based mics.
I've got a bunch of the lesser EV RE series mics that get used seldom, but sometimes they're just the ticket for a guitar amp and they can be useful for live stuff.
I haven't been using my C 451s much since I got my KM84, but since I only have one of those the AKGs are my second line of SDC defense - except for the new, non-modular one that never gets used for anything.
I've got 4 D12s that don't get used much anymore - three "E"s- one needs capsule work, one works fine but has a cracked frame, One works but has bent grills and is pretty ugly, I need to take it apart and bend the grills back into shape - and one original swivel mount with the pigtail cord badged Ecolette. The original oned has a metal frame, the E versions use plastic, which often causes a problem wsith disassembly, as the threads for the set screws get stripped out, making disassembly quite difficult. I'm quite fond of D12s in general and use them on various things besides kick drums - I've even seen pictures of them being used as vocal mics by The Beatles! Sometimes a D12 can be just the ticket on electric guitar.
I've got a bunch of other oddball mics too - a couple of old AKGs that lack model numbers but look like quite nice mics that I don't think I've actually tried out, a couple of odd Sennheiser electret condensers that are kinda large laveliers, A Groove Tubes LDC that I'm told isn't a bad mic that I never got around to using, a Sterling MDC that was an impulse buy at GC. A pair of Sony broadcast lavaliers (ECM50 and ECM 55 - only difference is the battery but they run on phantom too - that don't get used very often but can be really handy for oddball applications - gongs, hung right inside the lip, upright piano, especially when you don't want the mics to be obvious, other stuff. I became rather fond of them at FM Productions. I'm sure there are a bunch more, which reminds me, I've got 3 Shure ribbons - one Model 300, which was my favorite vocal mic until I got my first prototype Pearlman TM-1 (I have two now) and a pair of 315 super cardioids that both work but sound quite different, so I think I need to have one or both reribboned when I can afford it, which reminds me of my RCA 74 that I got for $100 at a flea market and had reribboned by Wes Dooley after an unsuccessful attempt at doing it myself.
I have a brand new Se X1 that I won in a contest on GS that is too sibalent for my taste, a Studio Projects (C1?) that used to get some use on drums. There's a Cascade Fathead that I got as a demonstrator after an AES show, and a Nady ribbon that was an impulse buy at GC and hasn't been out of its box that I can remember.
There's more but that's enough for now. And that doesn't mention any of the mics that actually get used a lot except the Pearlmans and the KM84
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Post by jazznoise on Dec 11, 2016 20:14:33 GMT -6
I'm running a nickel and dime operation, so there's no spare microphones. I'd like to get an RE20 or similar as a 2nd kick drum mic, and a nicer pair of omnis to retire my Behringers but we'll see what the money fairy of 2017 doth say (No, usually).
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Post by winetree on Dec 11, 2016 20:28:31 GMT -6
The Neumann U47 and the Neumann M49 don't get used much. They reside in the safe.
I use my U47 and M49 clones instead.
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Post by gouge on Dec 11, 2016 21:01:12 GMT -6
I'm running a nickel and dime operation, so there's no spare microphones. I'd like to get an RE20 or similar as a 2nd kick drum mic, and a nicer pair of omnis to retire my Behringers but we'll see what the money fairy of 2017 doth say (No, usually). I can highly recommend the akg d202. wider pattern but very nice on kick. |
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Post by johneppstein on Dec 12, 2016 1:11:32 GMT -6
The Neumann U47 and the Neumann M49 don't get used much. They reside in the safe. I use my U47 and M49 clones instead. You can send me the Neumann U47, it would be the first time I've had a decent Christmas present in decades. I used to have a Telefunken badged U47 that had belonged to my Aunt Hilda - it got stolen in the mid '80s. Didn't have the serial.... |
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Post by gouge on Dec 12, 2016 1:29:46 GMT -6
what mics do you prefer john.
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Post by johneppstein on Dec 12, 2016 1:31:09 GMT -6
I'm running a nickel and dime operation, so there's no spare microphones. I'd like to get an RE20 or similar as a 2nd kick drum mic, and a nicer pair of omnis to retire my Behringers but we'll see what the money fairy of 2017 doth say (No, usually). I can highly recommend the akg d202. wider pattern but very nice on kick. The dual capsule AKGs are very interesting an good sounding mics when in good condition, but they're acoustically very fragile in my experience. Nearly every one I've come in contact with has had capsule problems - usually a blown bass cap. (Perhaps from use on kick drum? I dunno...) I'm a big fan of the D-12/D-20 on kick, especially if you want that big British sound. Too bad that AKG doesn't have parts to repair them any more... |
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Post by gouge on Dec 12, 2016 1:49:32 GMT -6
My goto is a Beyer m380 for bass or kick.
I've not heard of the d20. Looks like another mix to add to the search list.
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Post by reddirt on Dec 12, 2016 1:51:44 GMT -6
You're right John, the 202 were a terrific mic on most things including kik but the bass cap used to die in the ++++. The BBC used to use them in their on air studios in the 60s so that says something about their sound quality.
I have a studio Project C3 which sounds pretty good through a BAE as does a Beesneez Arabella. Before using that pre with them I'd tend to leave them on the shelf.
Cheers, Ross
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Post by reddirt on Dec 12, 2016 1:56:13 GMT -6
In response to the OP's comments on the M69, I often see people recommending them but can't reconcile with their opinions; IMO their sound reflected their cheapish price. They could deliver some bottom end in a live kik environment but were a poor man's M88 IME
Cheers, Ross
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Post by gouge on Dec 12, 2016 2:07:15 GMT -6
The mics I keep in the graveyard are
Stellar rm7
Shure beta 57/58a
Some crappy old crown mic
Uher 537
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Post by johneppstein on Dec 12, 2016 2:14:30 GMT -6
what mics do you prefer john. Oh, jesus..... that could take awhile.... In the studio, and limited to what I have on hand... For my own vocals I'm quite partial to my Pearlman TM-1 prototypes (the prototypes are black, rather than the silver of the production models. I also use them on drums in the front-of-kit and floor tom side-of-kit positions of William Wittman's adaptation of the Glyn Johns mic technique - I gave up close micing toms (for recording) a couple or three years ago*. (I also don't use conventional overheads much) I also liked my Shure model 300 on vocal before I got the Pearlmans. I have a very,very nice (supposedly at one time Steve Miller's favorite vocal mic?) C12A brass capsule that I like on some other people's vocals and acoustic guitars. I don't close mic acoustic guitars, it sounds unnatural and causes problems. I have an older U87ai (pre Sennheiser) that I like for some other people's vocals, room mic, and any time you need an 87. This one came off the Fantasy Studios remote truck, as did a number of my other mics. I have a very nice KM84 that I use on snare drum (micing the shell from the side, a few degrees off from the sound hole - it gives an amazingly balanced sound) (This is on my late '60s/early '70s wood shell Ludwig, dunno how that might sound on a metal shell). It is also rapidlky becoming my favorite acoustic guitar mic. Current #1 kick drum mic is an RE-20, I have 2, the other mostly lives on bass guitar amp. If I want a more "british" sound I'm quite partial toward one of my working AKG D-12s. On guitar amp it's a grab bag crapshoot, depending on the amp and the song. In no particular order, Beyer M 201 (I have 2, also like them for live performance snare and, if I had more, toms), Beyer M160, AKG D-12, E-V RE10/11/15/16, EV RE20, a dbx badged Earthworks omni measurement mic that I'm told by an Earthworks rep is actually an M-30 (got it from GC for $40, they didn't know what they had), probably others I'm not thinking of at the moment.... I really miss my aunt's (original) Telefunken U-47 (stolen) and my Sennheiser MD-409U's (also stolen). Quite fond of my Sony ECM 50 and 55 - although they don't see much use they work in situations when nothing else will. My personal mic for live gigs in a Beyer M-88, which also sees use in the studio on various sources. Great mic. There's probably others I'm not thinking of, it's late and I don't have my mic collection in front of me. If I ever get out of my current economic hole, there are a lot of other mics on my radar, I'm a mic nut, can never have too many different types. Oh, one other thing - I have a Shure 545 Unidyne III "lavalier" model (SM57 variant) with an attached cable, that, when used with a line matching transformer, makes an absolutedly KILLER harp mic into a Fender amp. Instant Paul Butterfield! *- I favor using as few mics as possible in most recording situations - much cleaner tone, no phasey problems. |
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Post by johneppstein on Dec 12, 2016 2:22:00 GMT -6
In response to the OP's comments on the M69, I often see people recommending them but can't reconcile with their opinions; IMO their sound reflected their cheapish price. They could deliver some bottom end in a live kik environment but were a poor man's M88 IME Cheers, Ross The M-69 was FM Productions' standard live vocal mic. They make SM58s sound like dogshit. The gain before feedback is amazing in multi-mic stage situations because the QC is SO tight on the response. They're almost the same mic as the M88 except the response isn't quite as good on the low end - which makes them especially good for female vocal - they were absolutely GREAT on Ann Wilson with Heart when we did their sound in '78. Yeah, a poor man's M88 except for female vocal. |
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Post by johneppstein on Dec 12, 2016 2:43:03 GMT -6
My goto is a Beyer m380 for bass or kick. I've not heard of the d20. Looks like another mix to add to the search list. the D20 is exactly the same mic at the (original) D12 except that it has a 3 position bass rolloff switch that nobody ever uses and the connector is part of the swivel assembly, not on a pigtail. It's also a bizarre Germanic split level thing with 2 female contacts on a raised portion and one male on a sunken portion. (Some weird Tuchel thing? I dunno. I converted the 2 I used to have to XLR.) I had a pair I got from Dan Alexander pretty cheap because he didn't have any connector to fit them. |
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Post by gouge on Dec 12, 2016 3:06:40 GMT -6
The Shure 300 is very high on my current shopping list. Patiently waiting for the funds to align with the opportunity.
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Post by Ward on Dec 12, 2016 6:58:25 GMT -6
The Neumann U47 and the Neumann M49 don't get used much. They reside in the safe. I use my U47 and M49 clones instead. Have you checked the safe recently? |
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Post by Ward on Dec 12, 2016 7:04:51 GMT -6
What don't I use...
EV 635a is great for tack nails.
I had 5 SM57s, I lost 2 of them... pretty certain they're getting better use now, the other 3 lead very lonely lives.
A Telefunken stereo Dynamic doesn't get ANY use, but it looks pretty. Same for the 50s Shure 737a crystal mic.
My old EV 308s and 408s were the bomb once upon a time but they just collect dust nowadays. Same goes for the D112 and the stereo pair of SM98s.
The ancient Sennhesier MKH104s haven't seen action since the mid 90s. Beautiful mics but I need a need T power supple for them.
Someone mentioned the CAD Trion. Yes, I have one of those two that was used on a Fender Deluxe and worked better than any other ribbon. It was only used the one time. Saving it should that ever happen again.
Still hanging on to a Fostex M88 printed ribbon. Astoundingly great on two vocalists singing at once on either side. That doesn't happen very often, so the mic sits there in wait.
Might be another 20 that don't get used very often.
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Post by jazznoise on Dec 12, 2016 7:07:56 GMT -6
Hey man, send that EV635A my way. Its my go to BV mic for unconfident backup singers (most guys in rock bands). Run it into an RNC peak limiting and blast the speakers!
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