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Post by Deleted on Jan 22, 2017 9:26:53 GMT -6
well, Canada - thought you could keep this secret huh? Getting some good reviews, available in Europe too. Plus, ready tweaked "producers choice" range.
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Post by Deleted on Jan 22, 2017 9:42:53 GMT -6
lol just did another search on here, maybe not so secret. European distro though - good move.
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Post by EmRR on Jan 22, 2017 12:12:27 GMT -6
The entire SDC line seems to have gone away, there are still some pages up if you know where to look, but they don't seem to be obvious.
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Post by rocinante on Jan 22, 2017 12:30:42 GMT -6
I have a cm47se. Despite a small switch problem its a great vocal mic and kick drum mic. I've also used it on guitars witb good results.
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Post by Deleted on Jan 22, 2017 13:54:23 GMT -6
what caught my eye was the U49 copy. Can anyone tell me what the main differences between U49 / 89 and 47 / 87 range is? I did a very unscientific mic sim test and concluded that a 49/ 89 sounded better for my woeful vox than the 47/87 equivalants.
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Post by Vincent R. on Jan 22, 2017 20:56:22 GMT -6
I think they make some great products. I have their CM12, CM67, & CM251. My CM12 and CM67 have vintage mods that provide more accurate to the originals (C12 and U67) modes. The CM251 is dynamite. The other two are pretty awesome in both modes. You can hear the CM12 & CM67 in their stock sound in my shoot out below. They are both brighter than their vintage counterparts, but really balanced. The CM67 is closer to an M269.
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Post by Vincent R. on Feb 14, 2017 22:29:27 GMT -6
I just ordered yet another of aamicrophones microphones. Looking forward to getting my CM49. So I was thinking about some of the samples I had heard of the mics before reaching out and buying my first mic, the CM12. I was doing research on the web and rummaging for samples. I had found out that Dae Bennett had a pair of CM12s at his studio, which got me even more curious, but it was the video below that sold me. When I started toying around with the idea of getting a U67 style mic I found this great video which features a number of their microphones, but features their CM67, a modified U67 inspired microphone that is one of my favorites. I just picked up their CM49 for more classical applications, but as a female vocal mic this next video really shows off the microphone. I have a couple of female jazz singers I can't wait to try it on, as well as a few opera singers. Make your own judgements, but for the pricing these are top notch.
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Post by Deleted on Feb 15, 2017 3:29:32 GMT -6
Hey Vincent, would you be able to post some clips of the 49 when you get the time? I'm trying to understand what makes a mic more suitable for female vs male vox (also why I've got a bee in my bonnet about a 49). I've just been trying to remix an album I recorded last year. I'm no vocalist by any stretch, but my heart just sinks when I hear the sibilance I produced (albeit via a NT1A). Would a mic more suited to a female voice negate sibilance more so than one of the common male models? What are your thoughts on ribbon mics for vocals? I understand from other guys here that a decent mic pre can help a lot, so have recently bought one (Daking).
Sorry for the amount of questions
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Post by reddirt on Feb 15, 2017 16:10:23 GMT -6
Sorry to veer a little off topic Snpwflake but just reading your sibilance issue; a good tip can be to sing a little across the face off the mic rather than directly at it - might make that worthwhile difference with some vocalists. Nothing is set in stone and that applies to using a condensor on vocals; ribbons can be absolutely the ticket if you make allowances for plosives and proximity - they can sound warm and not exhibit that condensor "edge" which can be a real relief after battling with condensors because you " should" use one. E.G. i recorded a fiddle player the other night (Wiz and Rowmat will probably know of him - Pixie Jenkins), a great player who I didn't even bother with trying a condensor on ; put up an MJ modded Apex 205 - no edge, no need for eq except HPF and no worries!. Likewise a dynamic can also be very refreshing.
Cheers, Ross
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Post by wiz on Feb 15, 2017 16:30:43 GMT -6
Sorry to veer a little off topic Snpwflake but just reading your sibilance issue; a good tip can be to sing a little across the face off the mic rather than directly at it - might make that worthwhile difference with some vocalists. Nothing is set in stone and that applies to using a condensor on vocals; ribbons can be absolutely the ticket if you make allowances for plosives and proximity - they can sound warm and not exhibit that condensor "edge" which can be a real relief after battling with condensors because you " should" use one. E.G. i recorded a fiddle player the other night (Wiz and Rowmat will probably know of him - Pixie Jenkins), a great player who I didn't even bother with trying a condensor on ; put up an MJ modded Apex 205 - no edge, no need for eq except HPF and no worries!. Likewise a dynamic can also be very refreshing. Cheers, Ross I havent met Pixie....but have heard a lot about him.... and the one really great fiddle player I know, worked with him and spoke highly of him... cheers Wiz
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Post by Vincent R. on Feb 15, 2017 16:45:32 GMT -6
Hey Vincent, would you be able to post some clips of the 49 when you get the time? I'm trying to understand what makes a mic more suitable for female vs male vox (also why I've got a bee in my bonnet about a 49). I've just been trying to remix an album I recorded last year. I'm no vocalist by any stretch, but my heart just sinks when I hear the sibilance I produced (albeit via a NT1A). Would a mic more suited to a female voice negate sibilance more so than one of the common male models? What are your thoughts on ribbon mics for vocals? I understand from other guys here that a decent mic pre can help a lot, so have recently bought one (Daking). Sorry for the amount of questions Hey Snowflake, I can post some clips once I have it. I was planning to post stuff with my CM67VE and MKU67 anyway. You have any clips you you can share with me? I could give you thoughts about a microphone. It's hard to say what microphone will work with what voice, unless you've worked with a similar voice. The hard part is finding a place to try them all. I think that's the appeal for something like the Slate VMS, 8 different sonic choices in one mic. Basically there are two families of classic condensers, Neumann and AKG. They both offer something different. Neumanns have this thick thing in the mids going on and AKG have this airy presence thing. The U47 has huge mids and a larger than life sound to it. Since it is excentuating the mids it sounds good on warm voices, but can also give a little weight to smaller voices. The U47 also has this natural compression thing that happens in the higher frequencies which can either be a really good thing or a really bad thing. This mic works for a lot of male singers. Many higher voiced female voices sound off through it because of this, and because their middle voice is placed higher than the low mids accentuated by the U47's frequency response. To combat this Neumann designed the M49. The M49 has rich mids, but also richer lows and more natural highs than the U47. Overall it has a more natural sound capturing the full dynamic range. It just works better on more female voices. It's big in the classical world for this reason. I spent a few months debating between he U67 and the M49 after trying high quality Korby mics based on them. The AKG mics are kind of similar and tend to work really well on female voices. The C12 has a really balanced and natural sound with solid lows and rich highs, but textures the voice in a signature way. The ELA M251 is a bit like the U47 and has a bigger than life quality to it. The push is not in the low mids it's in the presence area. Thats why you tend to hear it on a lot of powerful, higher voiced female artists, as well as rock tenors. The U67 and U87 tend to fit in the middle of these groups which is why they are popular for general use/workhorse stuff. They tend to sound good on a lot of sources. Sorry for the the long answer.
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Post by Deleted on Feb 15, 2017 17:28:30 GMT -6
Thanks, reddirt, I have just been trying what you suggested. Got a new ribbon today, so testing on that. The plosive issue is definitely an issue so popshield a must. It did sound a bit bright too, so tried singing almost next to it other than into it, much better. Also read that if you flip the phase on a fig 8 ribbon it changes the sound subtley too, it did seem to do that. Will test some more tomorrow. Vincent R. Thanks Vincent, The Slate system does seem a good way of testing if it is, as it seems, pretty accurate. I have been toying with the idea of going to a local studio for the morning, although singing in a studio does seem a bit daunting. I reached my conclusion re mic type from a more basic mic pattern software, although interestingly I tried 4 different (low end) mics, (tube, ribbon, LDC, SDC) and they all sounded best through the 49 sim.That's why I'd like to hear you put the AA 49 through it's paces, and hear your thoughts on it. If you could make suggestions based on a clip that would be really useful. I won't stick any thing up here but will pm you a link of a song on soundcloud. You don't need to listen for long - you can hear the problem as soon as the first verse starts, and that's after throwing every trick I know at it to reduce sibilance (short of totally destroying the vox). Thanks for your help guys.
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ericn
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Post by ericn on Feb 15, 2017 17:40:29 GMT -6
Hey Vincent, would you be able to post some clips of the 49 when you get the time? I'm trying to understand what makes a mic more suitable for female vs male vox (also why I've got a bee in my bonnet about a 49). I've just been trying to remix an album I recorded last year. I'm no vocalist by any stretch, but my heart just sinks when I hear the sibilance I produced (albeit via a NT1A). Would a mic more suited to a female voice negate sibilance more so than one of the common male models? What are your thoughts on ribbon mics for vocals? I understand from other guys here that a decent mic pre can help a lot, so have recently bought one (Daking). Sorry for the amount of questions Hey Snowflake, I can post some clips once I have it. I was planning to post stuff with my CM67VE and MKU67 anyway. You have any clips you you can share with me? I could give you thoughts about a microphone. It's hard to say what microphone will work with what voice, unless you've worked with a similar voice. The hard part is finding a place to try them all. I think that's the appeal for something like the Slate VMS, 8 different sonic choices in one mic. Basically there are two families of classic condensers, Neumann and AKG. They both offer something different. Neumanns have this thick thing in the mids going on and AKG have this airy presence thing. The U47 has huge mids and a larger than life sound to it. Since it is excentuating the mids it sounds good on warm voices, but can also give a little weight to smaller voices. The U47 also has this natural compression thing that happens in the higher frequencies which can either be a really good thing or a really bad thing. This mic works for a lot of male singers. Many higher voiced female voices sound off through it because of this, and because their middle voice is placed higher than the low mids accentuated by the U47's frequency response. To combat this Neumann designed the M49. The M49 has rich mids, but also richer lows and more natural highs than the U47. Overall it has a more natural sound capturing the full dynamic range. It just works better on more female voices. It's big in the classical world for this reason. I spent a few months debating between he U67 and the M49 after trying high quality Korby mics based on them. The AKG mics are kind of similar and tend to work really well on female voices. The C12 has a really balanced and natural sound with solid lows and rich highs, but textures the voice in a signature way. The ELA M251 is a bit like the U47 and has a bigger than life quality to it. The push is not in the low mids it's in the presence area. Thats why you tend to hear it on a lot of powerful, higher voiced female artists, as well as rock tenors. The U67 and U87 tend to fit in the middle of these groups which is why they are popular for general use/workhorse stuff. They tend to sound good on a lot of sources. Sorry for the the long answer. I will add a third lesser known family to that list of Classics, one that is less appreciated and for the most part less expensive, Sony!
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Post by Guitar on Feb 16, 2017 17:29:28 GMT -6
great post, @vincent R.
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Post by Vincent R. on Feb 16, 2017 18:41:48 GMT -6
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Post by Vincent R. on Feb 17, 2017 8:40:24 GMT -6
While speaking with spud in a PM we started talking about the difference between AA mics and Peluso mics. I thought it was worth sharing. The big difference between the two companies' mics are this: -AA gives you a basic mic in nichol finish. It comes with a leather pouch for the microphone, good shockmount, standard Chinese style (but upgraded) power supply, standard 7 pin cable, in a small aluminum flight case without locks. -Peluso gives you a champagne colored mic. It comes with a wooden box for the microphone, good shockmount, upgraded Neumann style power supply, upgraded high quality 7 pin cable, in a large lockable flight case. Basically you are paying an extra $500-$1000 for upgraded accessories, not sound. I'm not saying they don't look great. I'm just saying the extra money is not related to the sounds of these mics. I find them very much in the same league. I've never had two of the same style mics from each company to properly compare them to each other. What I love about AA mics is if you reach out to Dave or Scotty they can customize the sound of your mic. I have a CM12 with both their standard mode and a richer sounding vintage mode. Same with my CM67. I know they also have an even brighter sonyC800g style mod for the CM67. I think that is really cool. While I briefly spoke with a John Peluso about the differences between the 2247 se & le versions (they are different. The se is brighter. Don't believe the hype). It wasn't the same kind of customer care I've received from AA.
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Post by jcoutu1 on Feb 17, 2017 9:11:12 GMT -6
While speaking with spud in a PM we started talking about the difference between AA mics and Peluso mics. I thought it was worth sharing. The big difference between the two companies' mics are this: -AA gives you a basic mic in nichol finish. It comes with a leather pouch for the microphone, good shockmount, standard Chinese style (but upgraded) power supply, standard 7 pin cable, in a small aluminum flight case without locks. -Peluso gives you a champagne colored mic. It comes with a wooden box for the microphone, good shockmount, upgraded Neumann style power supply, upgraded high quality 7 pin cable, in a large lockable flight case. Basically you are paying an extra $500-$1000 for upgraded accessories, not sound. I'm not saying they don't look great. I'm just saying the extra money is not related to the sounds of these mics. I find them very much in the same league. I've never had two of the same style mics from each company to properly compare them to each other. What I love about AA mics is if you reach out to Dave or Scotty they can customize the sound of your mic. I have a CM12 with both their standard mode and a richer sounding vintage mode. Same with my CM67. I know they also have an even brighter sonyC800g style mod for the CM67. I think that is really cool. While I briefly spoke with a John Peluso about the differences between the 2247 se & le versions (they are different. The se is brighter. Don't believe the hype). It wasn't the same kind of customer care I've received from AA. Any knowledge on how these AA mics differ from the Stellar mics? I recently picked up a CM5 and was reading some posts about how similar these are to the AA mics.
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Post by Vincent R. on Feb 17, 2017 10:36:57 GMT -6
jcoutu1 I've never used the Stellar mics. From what I've read they're really good, but not quite the same catagory as the Peluso or AA stuff, but that's just from what I've read. Maybe aamicrophones can let us know more details. Pretty sure the Stellar mics are stock Chinese mics, which are upgraded here in the US. The AA mics are parts ordered per spec from China, with quality control and assembly done in Canada. Peluso mics are similar to AA in that they have parts ordered per spec from China, but quality control and assembly in the US. However, John Peluso skins the capsules here in the US as well.
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Post by Guitar on Feb 17, 2017 10:47:31 GMT -6
I think Peluso goes a little further than that. In their recent video tour you can see them hand assembling circuit boards and entire microphones. They have a lot of Made In China parts, but most of the building is done by three people in one tiny shop in Virginia, USA. I am sure that this accounts for a lot of the price differential compared to AA.
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Post by Vincent R. on Feb 17, 2017 11:14:53 GMT -6
I think Peluso goes a little further than that. In their recent video tour you can see them hand assembling circuit boards and entire microphones. They have a lot of Made In China parts, but most of the building is done by three people in one tiny shop in Virginia, USA. I am sure that this accounts for a lot of the price differential compared to AA. As far as I know the AA mics are also assembled by hand as well. Scotty has hand built me 4 microphones. Again, perhaps aamicrophones can shed some light on it. In fact in the first video on this thread you can see Dave soldering the circuit board of a mic he's working on.
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Post by Vincent R. on Feb 17, 2017 11:22:42 GMT -6
You also save money because you're buying directly from the company, and not through a distributor.
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Post by ragan on Feb 17, 2017 11:55:31 GMT -6
jcoutu1 I've never used the Stellar mics. From what I've read they're really good, but not quite the same catagory as the Peluso or AA stuff, but that's just from what I've read. Maybe aamicrophones can let us know more details. Pretty sure the Stellar mics are stock Chinese mics, which are upgraded here in the US. The AA mics are parts ordered per spec from China, with quality control and assembly done in Canada. Peluso mics are similar to AA in that they have parts ordered per spec from China, but quality control and assembly in the US. However, John Peluso skins the capsules here in the US as well. There's a whole backstory there that I won't go into publicly Dave can share as much of it as he likes, as far as how he and Peter (Stellar) evolved their lines of mics, and where they're made and what is done to them once they ship to the U.S./Canada. Either way, good mics coming from both companies. Some of their offerings are extremely similar to each other, others not.
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Post by stratboy on Feb 17, 2017 12:02:43 GMT -6
While speaking with spud in a PM we started talking about the difference between AA mics and Peluso mics. I thought it was worth sharing. ,upgraded Neumann style power supply, upgraded high quality 7 pin cable, in a large lockable flight case. Basically you are paying an extra $500-$1000 for upgraded accessories, not sound. I don't disagree with your basic point: I, too have gotten great service from Dave and Scotty. But some people might say the power supply and cable DO have an influence on the sound.
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Post by nick8801 on Feb 17, 2017 12:13:53 GMT -6
I had a cm47ve for several years. Really fantastic microphone. I sold it to fund another purchase, but I wouldn't hesitate to purchase more stuff from them.
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Post by gouge on Feb 17, 2017 14:42:04 GMT -6
jcoutu1 I've never used the Stellar mics. From what I've read they're really good, but not quite the same catagory as the Peluso or AA stuff, but that's just from what I've read. Maybe aamicrophones can let us know more details. Pretty sure the Stellar mics are stock Chinese mics, which are upgraded here in the US. The AA mics are parts ordered per spec from China, with quality control and assembly done in Canada. Peluso mics are similar to AA in that they have parts ordered per spec from China, but quality control and assembly in the US. However, John Peluso skins the capsules here in the US as well. So the capsules are also different.
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