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Post by Mister Chase on Jan 30, 2018 19:19:21 GMT -6
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Post by Mister Chase on Jan 30, 2018 19:21:02 GMT -6
I find that this mic gets pretty much my favorite snare sound ever for brushed and side stick sounds. Top hits are great too. This would be my snare mic in jazz, bluegrass etc.
It performs quite well on both driven and clean guitar amps somehow. There are plenty of lows in this mic which is why folks like it on upright bass I am guessing.
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Post by EmRR on Jan 30, 2018 20:52:30 GMT -6
These mics are very clean and thus take on the character of the mic pre more than most mics. It's really a nice way to work, honestly. I'll check these clip out when I can. Wanted to say I'm finding this true with my Sennheiser MKH mics, kind of a super power.
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Post by Mister Chase on Jan 30, 2018 21:18:13 GMT -6
These mics are very clean and thus take on the character of the mic pre more than most mics. It's really a nice way to work, honestly. I'll check these clip out when I can. Wanted to say I'm finding this true with my Sennheiser MKH mics, kind of a super power. I'll have to see what those MKH's are about. Thanks for checking these out!
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Post by Vincent R. on Jan 30, 2018 21:48:32 GMT -6
The TLM170 is a mic I’d love to get I my studio for a little while. I’ve heard great things about them.
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Post by aremos on Jan 30, 2018 23:11:23 GMT -6
The TLM170 & the U89, both sharing the same capsule, are great on vox - specially classical (operatic). They are more natural sounding & balanced than an 87.
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Post by Mister Chase on Jan 31, 2018 0:24:55 GMT -6
They are squeaky clean so it's a bit of an interesting experience if you are used to an 87, 49, 67 etc etc type of mic.
I'm honestly the most surprised out of these clips by how great the mic did on the guitar cab with the distortion pedal on. Grainy stuff like that is usually reserved for ribbons in my mind but the 170 handles it with aplomb(if you place it right).
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Post by Vincent R. on Jan 31, 2018 6:15:10 GMT -6
The TLM170 & the U89, both sharing the same capsule, are great on vox - specially classical (operatic). They are more natural sounding & balanced than an 87. Yeah, every photo I’ve seen of Renee Fleming recording in a studio she is usually using a TLM170. That’s why I’d love to try one. I believe the TLM 193 also uses a cardioid only version of the same capsule.
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ericn
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Balance Engineer
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Post by ericn on Jan 31, 2018 9:01:29 GMT -6
Okay it's kind of funny on a forum where most of us are centered around the world of pop and what I'll classify as complimentary mics we are seeing guys admit to discovering or loving what I'll call bare it all mics like the Sennhieser MKH series or Neumann TLM170 & U89. These are all favorites of the classical, remote acoustic guys. I'll say congratulations beautiful but in many ways brutally honest mics, that are going to show how important the room is, more so than the usual suspects and you will find these are going to for the most part make you back off ! If you know the talent or instruments are not up to it keep these locked up because nothing in audio will shatter an ego and be a bigger talent reality check than these mics!
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Post by c0rtland on Jan 31, 2018 9:20:15 GMT -6
U89 for like 1300 on reverb.
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ericn
Temp
Balance Engineer
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Post by ericn on Jan 31, 2018 9:30:25 GMT -6
U89 for like 1300 on reverb. Ask your self are you man enough for this mic😎
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Post by c0rtland on Jan 31, 2018 9:38:09 GMT -6
U89 for like 1300 on reverb. Ask your self are you man enough for this mic😎 haha. Just saying. I totally agree I have the purp 170too and find what you are saying to be true. Im not springing for the u89. If anything I'd get another 170 for stereo and call it a day.
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Post by Mister Chase on Jan 31, 2018 9:43:26 GMT -6
Okay it's kind of funny on a forum where most of us are centered around the world of pop and what I'll classify as complimentary mics we are seeing guys admit to discovering or loving what I'll call bare it all mics like the Sennhieser MKH series or Neumann TLM170 & U89. These are all favorites of the classical, remote acoustic guys. I'll say congratulations beautiful but in many ways brutally honest mics, that are going to show how important the room is, more so than the usual suspects and you will find these are going to for the most part make you back off ! If you know the talent or instruments are not up to it keep these locked up because nothing in audio will shatter an ego and be a bigger talent reality check than these mics! Well, you know as far as pop goes, all the lead vocals on Tears for Fears Songs from the big chair were done on a TLM 170. But yes, these types of mics find their way to classical and jazz guys. I actually discovered these at a classical studio down my street in a very old stone church. We had some DPA's, a Royer 121 and Neumann TLM 170s on a Steinway D along with my Miktek c7s. I remember listening to the 170s in playback and just thinking "wow". They were very clear but not bright at all. Just natural and great. These were current models. I found a great deal on these and nabbed them. Or, DON'T keep them locked up if you NEED and ego check on an artist :-)
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ericn
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Balance Engineer
Posts: 14,938
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Post by ericn on Jan 31, 2018 10:06:12 GMT -6
Ask your self are you man enough for this mic😎 haha. Just saying. I totally agree I have the purp 170too and find what you are saying to be true. Im not springing for the u89. If anything I'd get another 170 for stereo and call it a day. You should grab another TLM170 a stereo pair would be so useful! Plus if your like me, your always thinking "man if I had one more...."!
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ericn
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Balance Engineer
Posts: 14,938
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Post by ericn on Jan 31, 2018 10:14:16 GMT -6
Okay it's kind of funny on a forum where most of us are centered around the world of pop and what I'll classify as complimentary mics we are seeing guys admit to discovering or loving what I'll call bare it all mics like the Sennhieser MKH series or Neumann TLM170 & U89. These are all favorites of the classical, remote acoustic guys. I'll say congratulations beautiful but in many ways brutally honest mics, that are going to show how important the room is, more so than the usual suspects and you will find these are going to for the most part make you back off ! If you know the talent or instruments are not up to it keep these locked up because nothing in audio will shatter an ego and be a bigger talent reality check than these mics! Well, you know as far as pop goes, all the lead vocals on Tears for Fears Songs from the big chair were done on a TLM 170. But yes, these types of mics find their way to classical and jazz guys. I actually discovered these at a classical studio down my street in a very old stone church. We had some DPA's, a Royer 121 and Neumann TLM 170s on a Steinway D along with my Miktek c7s. I remember listening to the 170s in playback and just thinking "wow". They were very clear but not bright at all. Just natural and great. These were current models. I found a great deal on these and nabbed them. Or, DON'T keep them locked up if you NEED and ego check on an artist :-) After getting the Quested H302's set up in the new APT living room we went on a huge listening bing over the last 72Hours and we kept saying " Man it just seams like everybody was more talented before PT" Sadly its true, you needed talent and some of the stuff you might of slagged thought was pop fluff or just didn't dig, has some really good performances! It's funny there is a thread about why less bass in the 80's? Well they were cutting to Vinyl duh ! BUT the real question is why was even the synth Bass SO MUCH BETTER ? Because you had talent with talent & real studios and mastering rooms ! Everybody heard the lowend in the production chain!
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Post by Vincent R. on Jan 31, 2018 10:27:32 GMT -6
haha. Just saying. I totally agree I have the purp 170too and find what you are saying to be true. Im not springing for the u89. If anything I'd get another 170 for stereo and call it a day. You should grab another TLM170 a stereo pair would be so useful! Plus if your like me, your always thinking "man if I had one more...."! This is pretty much how I feel. I want a pair of all my favorite mics. Maybe one day down the road. Right now I have a ghetto 49 pair of my FleA49 and CM49. lol. I also have (2) Blue Stage Is with B8 Caps though. It's like having 2 TLM 103s. I want another B7 cap. I've actually been debating grabbing the B3 capsule for my BLUE Stage I or II and seeing how it sounds, since that's their take on the TLM 170/U89 Capsule. Maybe If I see one used.
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Post by Mister Chase on Jan 31, 2018 10:33:47 GMT -6
Well, you know as far as pop goes, all the lead vocals on Tears for Fears Songs from the big chair were done on a TLM 170. But yes, these types of mics find their way to classical and jazz guys. I actually discovered these at a classical studio down my street in a very old stone church. We had some DPA's, a Royer 121 and Neumann TLM 170s on a Steinway D along with my Miktek c7s. I remember listening to the 170s in playback and just thinking "wow". They were very clear but not bright at all. Just natural and great. These were current models. I found a great deal on these and nabbed them. Or, DON'T keep them locked up if you NEED and ego check on an artist :-) After getting the Quested H302's set up in the new APT living room we went on a huge listening bing over the last 72Hours and we kept saying " Man it just seams like everybody was more talented before PT" Sadly its true, you needed talent and some of the stuff you might of slagged thought was pop fluff or just didn't dig, has some really good performances! It's funny there is a thread about why less bass in the 80's? Well they were cutting to Vinyl duh ! BUT the real question is why was even the synth Bass SO MUCH BETTER ? Because you had talent with talent & real studios and mastering rooms ! Everybody heard the lowend in the production chain! That's true. In my little world of acoustic and jazz, the same rules still apply. I love working with these guys that all have masters degrees in their arts from places like Howard. We don't punch in, or even edit really. That is the life, man.
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Post by drbill on Jan 31, 2018 11:00:44 GMT -6
I picked up a flawless vintage 170 for $750 about a year ago. Haven't had the opportunity to use it much, but from what I've heard so far, I really love it.
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ericn
Temp
Balance Engineer
Posts: 14,938
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Post by ericn on Jan 31, 2018 11:35:02 GMT -6
After getting the Quested H302's set up in the new APT living room we went on a huge listening bing over the last 72Hours and we kept saying " Man it just seams like everybody was more talented before PT" Sadly its true, you needed talent and some of the stuff you might of slagged thought was pop fluff or just didn't dig, has some really good performances! It's funny there is a thread about why less bass in the 80's? Well they were cutting to Vinyl duh ! BUT the real question is why was even the synth Bass SO MUCH BETTER ? Because you had talent with talent & real studios and mastering rooms ! Everybody heard the lowend in the production chain! That's true. In my little world of acoustic and jazz, the same rules still apply. I love working with these guys that all have masters degrees in their arts from places like Howard. We don't punch in, or even edit really. That is the life, man. More and more I find myself more satisfied working on strippers down acoustic stuff, but most of what I'm doing is tracking stuff that ends up in commercials! Yesterday I found all the Old Sheffield Labs direct to disc stuff is now on I tunes go take a listen and torture your monitors ( man I love the Volt woofers in the Questeds almost perfect cross between ATC's ultra low distortion and being able to go low)!
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ericn
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Balance Engineer
Posts: 14,938
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Post by ericn on Jan 31, 2018 11:36:25 GMT -6
I picked up a flawless vintage 170 for $750 about a year ago. Haven't had the opportunity to use it much, but from what I've heard so far, I really love it. I'm suprised it took you this long ! In your world of film music, it's as common as a 57 in the world of hard rock!
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ericn
Temp
Balance Engineer
Posts: 14,938
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Post by ericn on Jan 31, 2018 11:41:24 GMT -6
You should grab another TLM170 a stereo pair would be so useful! Plus if your like me, your always thinking "man if I had one more...."! This is pretty much how I feel. I want a pair of all my favorite mics. Maybe one day down the road. Right now I have a ghetto 49 pair of my FleA49 and CM49. lol. I also have (2) Blue Stage Is with B8 Caps though. It's like having 2 TLM 103s. I want another B7 cap. I've actually been debating grabbing the B3 capsule for my BLUE Stage I or II and seeing how it sounds, since that's their take on the TLM 170/U89 Capsule. Maybe If I see one used. In your world a nice pair of 170's would be a perfect stereo pair, add a Hardy M1 2 ch + with Transformers and the combo would work perfectly in Opera or Crooner world! As much as I think Daves mic's and the Blue have serves you well, I think it's time for a real quantity stereo pair as goal!
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Post by Mister Chase on Jan 31, 2018 12:46:56 GMT -6
I picked up a flawless vintage 170 for $750 about a year ago. Haven't had the opportunity to use it much, but from what I've heard so far, I really love it. Wow that is a killer, killer deal. Like. Gobsmackingly good. Mine are semi rough shape cosmetically but I am still grateful I got them for $900 and $1200 considering the price of new. Put it on a horn aka trumpet trombone F horn or a snare drum sometime. Mix it up a little, Doc!!!
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Post by Mister Chase on Jan 31, 2018 12:48:51 GMT -6
That's true. In my little world of acoustic and jazz, the same rules still apply. I love working with these guys that all have masters degrees in their arts from places like Howard. We don't punch in, or even edit really. That is the life, man. More and more I find myself more satisfied working on strippers down acoustic stuff, but most of what I'm doing is tracking stuff that ends up in commercials! Yesterday I found all the Old Sheffield Labs direct to disc stuff is now on I tunes go take a listen and torture your monitors ( man I love the Volt woofers in the Questeds almost perfect cross between ATC's ultra low distortion and being able to go low)! Totally understand. I have some of my material going in ads etc, but it's not exactly my forte. There's the art I like to track for arts sake and theres the art I track to make money. Sad, but true. Just trying to pay the bills and when that is the case NOTHING is off the table.
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Post by drbill on Jan 31, 2018 12:49:57 GMT -6
I picked up a flawless vintage 170 for $750 about a year ago. Haven't had the opportunity to use it much, but from what I've heard so far, I really love it. I'm suprised it took you this long ! In your world of film music, it's as common as a 57 in the world of hard rock! I have a bunch of Gefell's that kinda cover the same territory that I really love. I was just waiting for the right moment. I've used em a lot at other studios....
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Post by drbill on Jan 31, 2018 12:52:05 GMT -6
I picked up a flawless vintage 170 for $750 about a year ago. Haven't had the opportunity to use it much, but from what I've heard so far, I really love it. Wow that is a killer, killer deal. Like. Gobsmackingly good. Mine are semi rough shape cosmetically but I am still grateful I got them for $900 and $1200 considering the price of new. Put it on a horn aka trumpet trombone F horn or a snare drum sometime. Mix it up a little, Doc!!! I can't even tell you the prices I got on some other mics at the same time. Iconic classics that I'll likely never even see up FS again. Or at best, rarely. My faves from this group being the KM86's, followed closely by the KM53's... The KM53's seem to be so rare that I can't even find any sold items to figure out what they are worth. But I got a smoking deal....and I'm grateful. They will appreciate nicely while I use em...
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