|
Post by Quint on Jan 31, 2019 19:02:00 GMT -6
I understand you guys are in business to make money. Doh! Obviously. But the market for low level "clones" (which IMO are not really clones) is clogged, and getting more clogged up every day. I believe we need tools which will LAST a lifetime (like the originals) that sound AWESOME - not close. That's my opinion. I'd prefer you stick to the low side of high priced vs. getting down and dirty into the fray of "cheapest clone on the market" - which can ultimately do a manufacturer in if they are not very careful. That's just my opinion. These days, any "clone" is treading dangerous water with stam, warm, behringer, and a host of others on the hunt to make their mark. Go high when everyone else is going low. Thanks for your feedback. Our intention is to offer mics with zero compromise sonically.... but what we're trying to figure out is, if the $1500 and $3000 versions could sound exactly the same, what's the dollar amount that people place on looking/functioning exactly like the mic that's being emulated? I'm not talking about making something 'cheap' in any way... rather, just making something that doesn't go to extreme lengths to copy every aspect of a mics aesthetics, but still has 100% of the SOUND. The $1500 mic would still be a handsome, durable, mic that would last a lifetime. My vote would be for the $1500 mic. I would value quality of sound over aesthetics. $3000 prices a lot more people out. If competing with the likes of Stam, Warm, etc. is undesired or too risky, something in the $2000 (or slightly over or under) range, ala mics like the Chandler TG, might be a better sweet spot where the sound is still spot on AND the aesthetics can be nice, but maybe there still isn't an attempt to make things look 1:1 exactly the same as the original. I think once you get much over $2000 (and certainly approaching $2500), the potential customer base drops off quite a bit. People in the $1500 bracket might swing $2000 or $2250 for the right mic if the sound is spot on, but I doubt that crowd would go beyond that. The $2000 bracket still could be of sufficient quality to get buy in from the $3000 and up crowd if the the sound is spot on AND the aesthetics are "good enough".
|
|
|
Post by Vincent R. on Jan 31, 2019 19:07:57 GMT -6
I agree with Mike completely. If you can really nail the U67 sound and put it in an attractive body at $1,500, you'll sell way more than a great $3,000 mic. I don't think it has to look exactly like the 67, just similar. You could even do it with something like the generic body you see on Blackspade and some Avantone mics, they're very nicely made. There must be a U67/87 body available that's close. The Blackspade was the same exact thing as the Telefunken AK47 and costs 40% less. This is a first class look and it sold for around $1,000 under the Blackspade name, $1,895 as a Telefunken. You managed the Heiserman U47 FET at a great price, I'd love to see you take a go at a U67. C12's are more dependent on personal compatibility, 67's basically do everything well. Most company’s are simply using this fairly cheap body kit for their U67’s
|
|
ericn
Temp
Balance Engineer
Posts: 14,919
|
Post by ericn on Jan 31, 2019 19:39:37 GMT -6
Indeed. But may I humbly suggest that one must decide if selling 1000 cars and netting "x" amount of cash is worth more than selling 100,000 cars and netting the same "x" amount of cash. That's the question you need to answer before you go down the path of "which mic to create and at what price point". BEST of luck!! I welcome any and all advice from DrBill, humble or not. To your point, in my mind, the advantage of selling 100,000 vs 1,000 is that when you have 100,000 customers, you have a much larger base of customers who might be interested in the next product you make... However, there's certainly a lot of administrative/support and customer service issues that come along with the larger number of customers. Side note, we're consulting with some professionals regarding these types of questions, and how they tie into a distribution vs direct sales models..... but it's really interesting to get some feedback from you guys. It's immensely helpful! So thanks to everyone who's participated thus far. The thing to also consider with going mass market prosumer is the market is very crowded so the cost of customer acquisition is getting higher and higher. Dealers already have a ton of mics in that range to choose from so how do you stand out to both your resellers and buyers? Also keep in mind dealers at least those you want are going to expect terms and discounts, can you afford it ? I may have made my living for a good part of my life as a gear pimp, but honestly for new brands trying to deliver value and quality, I think selling direct is the best situation as long as you can deliver the product and support. A dirty little secret was How often one manufacturers ad or lead led to a sale of another manufacturers product and how often it was simply about price or being in stock.
|
|
|
Post by chessparov on Jan 31, 2019 19:40:23 GMT -6
IMHO Dr. Bill's reasoning is very sound...
I think you could place a lower price product, like the less costly to make U87i-Priced below your H47 FET. This would be your entry level product.
Then your other tube microphones could be priced in the $2500+ category. Chris
|
|
|
Post by timcampbell on Jan 31, 2019 19:52:20 GMT -6
That was also why I suggested going with a unique, quality product like the Chandler mics. There are so many C12/251 clones out there using high quality components (your capsule, Ben's or mine) in the 1100-1500 price range right now that you'll end up scrambling around after pennies.
|
|
|
Post by mdmitch2 on Jan 31, 2019 20:02:11 GMT -6
]People in the $1500 bracket might swing $2000 or $2250 for the right mic if the sound is spot on, but I doubt that crowd would go beyond that. The $2000 bracket still could be of sufficient quality to get buy in from the $3000 and up crowd if the the sound is spot on AND the aesthetics are "good enough". This makes a lot of sense to me...
|
|
|
Post by Martin John Butler on Jan 31, 2019 20:13:38 GMT -6
I've dealt with the guys from Blackspade (BSA), they're extremely knowledgeable, helpful and treat customers well. Their products are first class for sure.
|
|
|
Post by Quint on Jan 31, 2019 20:33:53 GMT -6
This makes a lot of sense to me... Chandler does what Chandler does and people pay what Chandler asks because they've got the reputation. That being said, I feel like, with the new TG mic, they are going for the exact sweet spot I'm talking about. The quality is obviously there, but the price isn't so high that it's unattainable for the $1000 to $1500 crowd to spend another $500 or so if they know they are getting a quality mic they will own for a long time. Granted, the $3000 and up crowd aren't questioning the quality of the TG because, well, it's Chandler. So reputation matters for sure, but the extra $500 to $750 to get up to the $2000 or so price bracket might be the price point which separates a Heiserman mic from the sub-$1500 bracket while still attracting customers from either side of the $2000 price spectrum. This is all assuming that there is a discernable uptick in quality. That's also my long winded way of saying that $3000 is a lot of dough for a single mic, whether you're high end or not. I know there are people (high end studios and middle aged dentists) who will spend $3000 or more for a mic, but that group gets smaller and smaller by the day, whereas the "burgeoning middle" has, it seems, begun to grow as it has realized that there is money worth being spent to get a quality product that costs a little more for a noticeable increase in quality, and is a step above budget gear, but also won't completely break the bank.
|
|
|
Post by Martin John Butler on Jan 31, 2019 20:48:03 GMT -6
Good point Quint. I make 10% of what I made in the 80's and 90's for the same thing now.
|
|
|
Post by drbill on Jan 31, 2019 21:03:08 GMT -6
I know I'm a freak that's got opposing opinions and views to a lot of folks, but..... I just need 2 simple things out of a vocal microphone. (And based on the comments above, I'm going to assume that this exercise is mostly abut vocal microphones.) Well, maybe they aren't so simple, but...... Often, I'll end up recording a lot of people who don't know me well, and are unsure of what they are walking in to. It's a way different gig than recording yourself or the vocalist in your band due to the crazy amounts of psychology involved in getting a singer to feel comfortable, relaxed, and ready to hand over their heart and soul to a stranger. What I need when I put a mic are just 2 (simple?) things.... #1. I need the mic to sound FANTASTIC! Not good or great, but fantastic with magic fairy dust if at all possible. The mic can be decades old or brand shiny new, but it's got to stand OUT when the singer opens up their mouth. Jaws should drop. In the booth and in the phones. Everybody and their brother has "pretty good" clones these days. As is evidenced by the new Warm 251. Under most circumstances, I'd be willing to pay more to hit way above the belt over the hordes of new mics coming out virtually every week. That's where the golden market is IMO. And....in close second to sound (or is it more important than the sound??) #2. I need the microphone to reek money. It's gotta REEK FREAKIN money!!! It can be because it's got rust and patina on it and obviously has a history in video's, photos and past encounters, or it can be because it's glamorous and shiny and they have never seen one. But it's got to shout MONEY!! Bling. Experience. And Aura. That makes a singer step up like nothing else. They know it's a sweet mic, they know the studio is serious about making them the best they can be, and they are there to perform. They know they have to step up. And that one thing might be even more important than how the mic sounds to me, cause PERFORMANCE trumps everything else. I need a mic that BEGS performers to step up and perform - one that taunts them to give 110%. And if I can achieve that hurdle, I can use almost anything. But make no mistake. Everyone has a studio these days, and getting that attention and creating trust is not as easy as one might think, and I actually agree with jcoutu1 about the chinese bodies. That Blackspade mic earlier is a great example. It screams design esthetic, attention to detail, and money. For all I know it may be made in China, but it sure doesn't look like it. It has a classy, unique vibe to it. And I could get singers to step up just by the presentation of the mic. From the logo, to the type of connector, to the power supply, to the head basket, it's gotta be screaming money!!! If the mic has a standard Chinese body with marginal fitment that a dozen other mics use, or if it's a vintage U47 that's stuffed into a MXL body that dozens of companies use, for me and my uses, it's a fail for #2 no matter how great it sounds. If done correctly, if presented in a unique and beautiful way, $2500-3000 can seem like the bargain of the century - all the while making $1500 seem overpriced. It's about presentation. Now.... both are important. And if it was for me alone, I could usually deal with the esthetic thing although after 30+ years of recording, holding a beautiful mic is almost a spiritual thing for me, but I could get over a generic body. But for a performer.....I need them to be in awe. That's it. For me. I know my situation is not the same as everyone else's, but that's an open market IMO where someone can (and no doubt will) kill it. And I don't think I'm the only one with my views, esthetic or opinion. All that said, whatever you guys do, I'm really looking forward to having an H47 FET and maybe it's tube brother someday.... (BTW, as mentioned, you nailed it on the H47 esthetic!) Keep it up!!!
|
|
|
Post by Quint on Jan 31, 2019 21:21:59 GMT -6
Good point Quint. I make 10% of what I made in the 80's and 90's for the same thing now. In a strange way, I feel like all of the budget clones out there these days have actually swung the pendulum back a little bit. Makers like Golden Age, for example, have put products out there which are totally attainable to the masses and have given them a taste of what this sort of gear is supposed to sound like, even if it's not as good as it could be. I still think the GAP Comp-3a sounds great though, regardless of price. Compared to budget gear of the past, a preamp or comp from a company like Golden Age still sounds way better than what could be had for the same price 15 years ago. And I think this has whet an appetite for gear in a price bracket which is more expensive and of a "good enough" quality, but still not so expensive that it's unattainable to many people. Enter Warm, Stam, etc. There's still even gradations within this group, but it's interesting to watch. Threading the needle between the upper end of this group and people in the market for even more expensive products would be a nice achievement. Which is why something like the Chandler TG mic is so interesting. It seems to fall right in that spot.
|
|
|
Post by Quint on Jan 31, 2019 22:33:37 GMT -6
Bill, I thought you were pretty much only doing your own stuff these days, as in not recording outside vocalists?
Anyway, the music industry is a bitch these days. I can certainly appreciate the romantic notion of owning all sorts of awesome vintage gear or new era high end mics. I'm sure we all wish we could. From your comments, I guess you can. To be clear, I don't mean that as a disparaging comment.
But these days, outside of legimately high end studio circles, which are getting fewer and far between, the reality is that most people can't justify spending that kind of money, and gear makers have to take that into account. There's a reason gear makers, which previously made products which were exclusively high end, are more and more starting to produce products which appeal to the "middle".
I want Neumann to make 1:1 reissue versions of their old classics just as much as I want there to be Neve 8068s operating into perpetuity. Not because I could ever afford to justify owning ANY of that, but it's just nice to know that it's out there and that I might occasionally come across a moment where I might get to use it.
Fact remains that products like the Silver Bullet are aimed squarely at the crowd I'm talking about. So I know you get the market demands I speak of.
Not that there is NO market for $3000 and up mics, but that market is diminishing and it would be nice to see gear come out in a price bracket which is above the Warm bracket, but is still "relatively" affordable while offering a quality which is a cut above the aforementioned products. That's why I keep mentioning the Chandler TG. It seems to hit that sweet spot.
|
|
|
Post by chessparov on Jan 31, 2019 22:47:59 GMT -6
Most likely out of "the regulars", I'm the closest to the amateur "home studio guy"... Who has limited experience recording, and (some) sense to appreciate the better things in microphones. IMHO having a marketing plan-like planning a chess game, needs to include some education for the (hopefully) intelligent layperson to appreciate why they're moving up to your price range. For example, it could be pointed out that the U87ai, isn't always the best choice on a vocalist (certainly isn't for me!). So instead of them laying out $3200 new, or around 2K used, for an AI...
You could indicate how they could try different models, of your microphones, that might work even better-for le$$ money. Pretty basic to a gearnut like me, but most singers aren't gearnuts!
FWIW it's taken me around 10 years to really appreciate premium LDC's with non-budget price tags.
Personally, I have enough vocal microphones to cover my bases. But if I were starting over (and not doing some experimenting), I'd be in that $1500 and under range. Shortlist new, your H47 FET, Soundelux U195, Tonelux JC37 FET, Sontronics Sigma 2 ribbon. Chris
P.S. Dr. Bill, I don't have any smilies on my cell phone, when I post. If I could have, there would have been a smilie after the "HAVE to be right". My own life experience is in accord, with your words of wisdom!
|
|
|
Post by chessparov on Jan 31, 2019 22:52:30 GMT -6
Great post Quint!
BTW in the around $2500 range (new), FWIW my three "fantasy" microphones, are the Soundelux U99, Tonelux C37 tube, and (possibly) your H47 tube with the darker M7 capsule. This is out of a ton of microphones! Chris
|
|
|
Post by drbill on Jan 31, 2019 23:48:49 GMT -6
Bill, I thought you were pretty much only doing your own stuff these days, as in not recording outside vocalists? Anyway, the music industry is a bitch these days. I can certainly appreciate the romantic notion of owning all sorts of awesome vintage gear or new era high end mics. I'm sure we all wish we could. From your comments, I guess you can. To be clear, I don't mean that as a disparaging comment. But these days, outside of legimately high end studio circles, which are getting fewer and far between, the reality is that most people can't justify spending that kind of money, and gear makers have to take that into account. There's a reason gear makers, which previously made products which were exclusively high end, are more and more starting to produce products which appeal to the "middle". I want Neumann to make 1:1 reissue versions of their old classics just as much as I want there to be Neve 8068s operating into perpetuity. Not because I could ever afford to justify owning ANY of that, but it's just nice to know that it's out there and that I might occasionally come across a moment where I might get to use it. Fact remains that products like the Silver Bullet are aimed squarely at the crowd I'm talking about. So I know you get the market demands I speak of. Not that there is NO market for $3000 and up mics, but that market is diminishing and it would be nice to see gear come out in a price bracket which is above the Warm bracket, but is still "relatively" affordable while offering a quality which is a cut above the aforementioned products. That's why I keep mentioning the Chandler TG. It seems to hit that sweet spot. I dig what you're saying. And like I mentioned, it's just my $0.02 and I know that my perspective is not one that is universally held. Even though there are lot of different perspectives, I do believe that $2-3k market is wide open for a mic company to pursue and profit in. Certainly the low end is where there is a lot of growth in the industry. It's also where there is the most competition. If Heiserman can bring a top notch $2500-3000 mic to market that is superior, I think there's a large market for it. Case in point : Chandler and their mics. Neumann and the reissue 67's. Lots of those sold. Folks (not all, but definitely an overlooked market IMO) are looking for quality. But I totally get you and your perspective - it's legit. I think there's room for both though. PS - One thing to keep in mind is that if Heiserman sells direct - their $2500-3000 mic is hitting up into the $5-7k range for mics sold thru a distributor / dealer network. One reason the Silver Bullet can sell for $2k-ISH is that exact reason. There's no way we could sell it for that thru dealers. It's a brave new world, and those who think outside the box will be the ones still doing business in 20 years. Any way you look at it, IMO, it's a phenomenal time to be recording. The tools these days are spectacular and CHEAP compared to the "old days'. <thumbsup>
|
|
|
Post by jtc111 on Jan 31, 2019 23:52:03 GMT -6
I'm the closest to the amateur "home studio guy"... I'm that too but I learned over the 16 or so years I've been at this that it costs a lot more money to inch your way up the quality trajectory. I started out with a couple of mics in the $100-200 range and spent a lot of years making small jumps in quality with both mics and preamps. I was buying everything new and then when I itched for something better in a year or two, I'd take a hit. It's an expensive game to play. These days, I'm happy to buy quality. If I can find it cheap, great, but I'm okay if I have to spend for it. That said, if I could buy a pretty true sounding 67 clone for $1500 in a cheap body/basket, I'd buy it. If I had to spend another $500 for it to be in a more impressive body/basket, that wouldn't put me off. If the price jumped to $3000, now we're approaching Flea money. If Flea came out with a 67, I'd buy it in a heartbeat. I own their 47 and I've sat in the studio with Vincent R. and heard his 49. I know that quality and it would be an easy decision. Spending $3000 on a 67 from anyone else though, I'm back to where I was before I bought my Flea, where it took years of listening to every shootout and watching every YouTube video I could find to finally make the decision to buy it. That Flea was on my radar for 3 years before I pulled the trigger. So I'm saying I may still buy it, but it would take some convincing and probably wouldn't be a quick decision.
|
|
|
Post by Quint on Feb 1, 2019 0:13:07 GMT -6
Bill, I thought you were pretty much only doing your own stuff these days, as in not recording outside vocalists? Anyway, the music industry is a bitch these days. I can certainly appreciate the romantic notion of owning all sorts of awesome vintage gear or new era high end mics. I'm sure we all wish we could. From your comments, I guess you can. To be clear, I don't mean that as a disparaging comment. But these days, outside of legimately high end studio circles, which are getting fewer and far between, the reality is that most people can't justify spending that kind of money, and gear makers have to take that into account. There's a reason gear makers, which previously made products which were exclusively high end, are more and more starting to produce products which appeal to the "middle". I want Neumann to make 1:1 reissue versions of their old classics just as much as I want there to be Neve 8068s operating into perpetuity. Not because I could ever afford to justify owning ANY of that, but it's just nice to know that it's out there and that I might occasionally come across a moment where I might get to use it. Fact remains that products like the Silver Bullet are aimed squarely at the crowd I'm talking about. So I know you get the market demands I speak of. Not that there is NO market for $3000 and up mics, but that market is diminishing and it would be nice to see gear come out in a price bracket which is above the Warm bracket, but is still "relatively" affordable while offering a quality which is a cut above the aforementioned products. That's why I keep mentioning the Chandler TG. It seems to hit that sweet spot. I dig what you're saying. And like I mentioned, it's just my $0.02 and I know that my perspective is not one that is universally held. Even though there are lot of different perspectives, I do believe that $2-3k market is wide open for a mic company to pursue and profit in. Certainly the low end is where there is a lot of growth in the industry. It's also where there is the most competition. If Heiserman can bring a top notch $2500-3000 mic to market that is superior, I think there's a large market for it. Case in point : Chandler and their mics. Neumann and the reissue 67's. Lots of those sold. Folks (not all, but definitely an overlooked market IMO) are looking for quality. But I totally get you and your perspective - it's legit. I think there's room for both though. PS - One thing to keep in mind is that if Heiserman sells direct - their $2500-3000 mic is hitting up into the $5-7k range for mics sold thru a distributor / dealer network. One reason the Silver Bullet can sell for $2k-ISH is that exact reason. There's no way we could sell it for that thru dealers. It's a brave new world, and those who think outside the box will be the ones still doing business in 20 years. Any way you look at it, IMO, it's a phenomenal time to be recording. The tools these days are spectacular and CHEAP compared to the "old days'. <thumbsup> It's an important distinction that should be made. All of the comments I made were based on relative comparisons of retail prices. If Heiserman chooses to go direct, that obviously changes things. I don't know if that is their intended business model or not. That being said, $2000 or so for a mic sold on a direct sales strategy would definitely pique my interest.
|
|
|
Post by drbill on Feb 1, 2019 0:20:42 GMT -6
With the pre-orders and all, I just assumed they were selling direct.... I could be wrong.....
|
|
|
Post by Ward on Feb 1, 2019 0:39:30 GMT -6
Personally, I'd like more KM84s and based on how well the 47fet turned out, I would trust you over anyone else to put out a KILLER 84!!
I am so very much looking forward to receiving my democrat and republican 47FETs!!
|
|
|
Post by sirthought on Feb 1, 2019 0:42:25 GMT -6
My two cents:
- Based on research on other forums, I think those Blackspade bodies are chinese, but they are quality. From what I remember, most of their components are Chinese except the notable ones that people are concerned about: capsule, transformer, tube. I'm okay with that, but their prices are high to me. The $1500 price point would be the highend for me and yes, I'd expect a great performing mic for that.
- Quint's points are really in the same direction of my viewpoint. I would never label myself a mic expert, but I have worked for a major Pro AV dealer and we design, stock and build studios for everything from the trust fund fancy home studios to the studio business with serious recording credentials. That higher end gear is getting harder and harder to justify for ALL of them. They don't earn as much for services provided, and their results from more affordable gear is often quite good...especially if you have the most important thing: a good song and performer.
Frequently now people who do want to passionately make music don't even consider a studio as an option, sadly. They will invest in their own decent interface and at least one really nice microphone. That's a big part of who you need to win. Someone who's willing to step up to tube condensers from a KSM44, and they will look at a boutique brand, but not likely spend for much more. Jumping from a $1K investment to $2K is a big deal for a generation who basically is broke all the time. Unless it's a well known brand, resellability is a concern that's going to be in the back of their minds.
- A mic doesn't need to look 100% identical to its inspiration. Body size and shape might change. However, if a company says it's offering a 67 or 49 type of performance, but the grill looks more like a 251 than a 67, that raises questions because I know Neuman designed that slanted basket for a reason.
- The mic and PSU is the most important part of the package. Sell the nice shock mounts and cases on the side. If someone doesn't want to invest in your suggested items, it's on them and they have the most important part.
|
|
|
Post by swafford on Feb 1, 2019 4:04:09 GMT -6
Let me make a very rare post on a subject dear to my heart.
First my vote would be for a U67 or Gefell CMV 563 in the $2000 - $2500 range, though I don't shy away from cheaper.
My experience is mostly with U67's in commercial studios and, in my humble project barn, a couple clones - Stam SA67, Beesneez BM49; and classic originals - UM70, CMV 563 and a Horch RMJ2.
My problem with cheaper mic clones for vocal duties is they initially they sound great, but upon further use in tracking and mixing they end up being annoying. Usually this has to do with either their inability to handle louder passages when tracking that produce unpleasant mid to mid/high frequencies or they just can't take EQ very well. I don't know what kind of design considerations cause these annoyances and if it's avoidable in a less expensive design.
My problem with mics in general is the repair landscape for microphones is pretty dismal and this is why I will only be buying microphones from USA based makers in the future and why I am excited by Heiserman. Right now for outboard we got Audioscape (c'mon D-Comp!) and Weight Tank for great, affordable gear made by pleasant, knowledgable and accessible people. I have plenty of USA based ribbons - Stager, AEA, Royer (boy, what a time for us ribbon lovers!). I can't justify the $ for a Bock. As far as outside USA makers of affordable mics/gear it's to much of a crap shoot to get it fixed - both in turnaround time, shipping costs and a companies inability to grasp the fundamentals of basic customer service.
So, a great sounding LDC at a $2250 price point made by a company that stands behind their products and can also either answer the phone or respond to an email in a professional manner is where my head is at. If that company could make a u67 that sounds 95% of what I felt like singing through Bob O.'s, I'd be in the queue for purchase this morning. If they could make an affordable and reliable version (as in not 60 years old) of a CMV 563, buddy I am there (love that mic!, terrified of getting it fixed, which is why I sold it before it had an issue.) Put new tubes in whatever you offer, and if I want to roll some NOS tubes for it, there's always our pal Bowie. As far as shockmounts go, if it's crap, I just get another Rycote, just have an option for a decent cord that's at least 20ft.
|
|
|
Post by Vincent R. on Feb 1, 2019 5:14:14 GMT -6
#1. I need the mic to sound FANTASTIC! Not good or great, but fantastic with magic fairy dust if at all possible. The mic can be decades old or brand shiny new, but it's got to stand OUT when the singer opens up their mouth. Jaws should drop. In the booth and in the phones. Everybody and their brother has "pretty good" clones these days. As is evidenced by the new Warm 251. Under most circumstances, I'd be willing to pay more to hit way above the belt over the hordes of new mics coming out virtually every week. That's where the golden market is IMO. And....in close second to sound (or is it more important than the sound??) #2. I need the microphone to reek money. It's gotta REEK FREAKIN money!!! It can be because it's got rust and patina on it and obviously has a history in video's, photos and past encounters, or it can be because it's glamorous and shiny and they have never seen one. But it's got to shout MONEY!! Bling. Experience. And Aura. That makes a singer step up like nothing else. They know it's a sweet mic, they know the studio is serious about making them the best they can be, and they are there to perform. They know they have to step up. And that one thing might be even more important than how the mic sounds to me, cause PERFORMANCE trumps everything else. I need a mic that BEGS performers to step up and perform - one that taunts them to give 110%. And if I can achieve that hurdle, I can use almost anything. But make no mistake. Everyone has a studio these days, and getting that attention and creating trust is not as easy as one might think, and I actually agree with jcoutu1 about the chinese bodies. That Blackspade mic earlier is a great example. It screams design esthetic, attention to detail, and money. For all I know it may be made in China, but it sure doesn't look like it. It has a classy, unique vibe to it. And I could get singers to step up just by the presentation of the mic. From the logo, to the type of connector, to the power supply, to the head basket, it's gotta be screaming money!!! If the mic has a standard Chinese body with marginal fitment that a dozen other mics use, or if it's a vintage U47 that's stuffed into a MXL body that dozens of companies use, for me and my uses, it's a fail for #2 no matter how great it sounds. If done correctly, if presented in a unique and beautiful way, $2500-3000 can seem like the bargain of the century - all the while making $1500 seem overpriced. It's about presentation. #2 is so important, even for a guy like me who is mostly recording myself or my friends (all pros) who trust my judgement. It needs to sound fantastic and above what they’ve ever expected, and it needs to look fantastic. I have lately found myself torn between two different 67 style mics. Both should give me a fantastic sound and will be made with premium parts. One will sound a bit more like the reissue and look fantastic and the other will be spot on with a good vintage model, but look cheaper. I shouldn’t be torn, but I am.
|
|
|
Post by indiehouse on Feb 1, 2019 6:06:05 GMT -6
I agree with what’s been said already. I’d bump up to the 2500 dollar range if it’s a big step up in quality. Sell direct, though, and pass the savings on to us. I really like that model.
Resell value is big for me. I’m not going to buy a new mic that I’m instantly going to lose a ton of money on because it doesn’t have established name recognition. That’s a tough one. Also, personally, I don’t want a red microphone. Or a blue one. Or a yellow one...
On a side note, I seen that several have mentioned Stam and Warm together, as being in the same class of product quality. I’d always thought of Stam as being of better quality, even though prices are similar (with Stam selling direct and Warm having distribution/dealer markups).
|
|
|
Post by Omicron9 on Feb 1, 2019 7:02:13 GMT -6
A clone of a Neumann SM-2 or SM-23, but non-tube. I don't understand why no one (AFAIK) makes a stereo SDC. I'd buy a couple right now.
And yeah, I know this is far more esoteric than an LDC vocal mic. But one can dream...
Aside from that, I'm +1 on a KM84.
-09
|
|
|
Post by Vincent R. on Feb 1, 2019 7:43:20 GMT -6
On a side note, I seen that several have mentioned Stam and Warm together, as being in the same class of product quality. I’d always thought of Stam as being of better quality, even though prices are similar (with Stam selling direct and Warm having distribution/dealer markups). Agreed. Stam is more like buying from a custom builder and Warm is very much commercial budget gear. Unfortunately, Stam has other issues.
|
|