Post by johneppstein on Mar 12, 2021 14:33:18 GMT -6
We are an extremely small company (5 people) and we do not have a big budget for marketing.
Def. don’t want to come across as politicians so we will get to working on that asap if that is how the site comes across. None of us are experts at marketing-I plan on doing this the old fashion way-sending a handful of mics out to people I respect and let them provide feedback.
The thing is, it is a crowded, competitive market and the way we can ultimately stand out is to emphasize what we are.
Honestly, our mics are not for everyone-they are voiced to be modern and bright. There are hundreds of other companies floating out u87 clones and vintage clones of the past and that is not who we want to be.
I do like vintage mics (I’ve owned multiple 87s) but I really favor the direction vocals are going in the mainstream world. I know lot of people complain about over compression, things getting too thin and too bright-I get that. When I hear modern vocals these days, I am blown away-I love modern radio processing. My heroes in the engineer field are Jaycen Joshua and Fabian Marascuillo.(he got me on the Dolby 740 and wow what a great piece of gear!)
I grew up listening to Warren Zevon, Aerosmith, The Beatles and Stevie Ray Vaughn-it was not about the processing with those guys-it was how the songs made you feel. The cream of the crop of the industry back then was more about the talent, nothing to do with gear or who had the best mixing engineer.
These days we all know the cream does not rise to the top- just look at modern country and modern hiphop. Lot of guys there with elementary performances/talent but with superstar engineers behind them and branding behind them.
I have owned two Sony c800g’s and love everything about them. But before I could afford them-way back I was just a kid starting out recording vocals at home. I think lots of us can relate. Think of your first mic or your first guitar-and compare that to the tools you have now.
I remember becoming fascinated with microphones-comparing them, contrasting them. I would record a whole song with my first microphone-a lowly Behringer XM8500(a dynamic that cost 20 dollars) then immediately re-recording with my second and third mics( Audix om5 and Sennheiser e835)
I took notes of the differences, I loved how the XM8500, it had this lo fi quality that I really liked on my voice. And then the Audix om5, it was like a laser beam-it had a hypercardioid pattern and huge SPL so I could get right on it and yell my vocals. Then my e835-it had this crispy, cutting sound that was perfect for some of the instrumentals I was using.
I started reading everything about microphones. I of course got the Sm7b then graduated to condensers. My first condenser was a lowly MXL 990 (How many of yall have been there before? Hahaha This was back in the day when they were everywhere at Guitar Center.
I actually was not too disappointed-this was before my ears matured and I learned the extreme nuances of what I liked and what I did not like.
Eventually, I wanted better and began reading and getting into microphone modifications. I thought this was the coolest thing ever.
There used to be a nice fellow by the name of Michael Joly who posted at a forum I belonged to. This guy was so informative for me-he discussed capsules, transformers, circuitry-you name it. He was also very accessible-I remember shooting him a message with questions and he responded back very graciously.
At this point, I was still trying to find out why certain microphones cost what they did and did that equate to a better sound? And what is a better sound really? Let’s be honest, if you have a great voice-a better mic by standards of nuance capture IS A BETTER mic, but if you have a not so great voice, then perhaps a dynamic mic is better for you, to tuck those flaws away! Haha
I was learning. But I wanted to test the heavy hitters, I wanted a Manley Reference, I wanted a u87, I wanted a Sony c800g. I wanted a Neve 1073. This is what all the high ends guys were raving about and I wanted to get my hands on these things too.
I purchased a Golden Age 73 OG, I started messing with cranking the output with lowering the output-getting all the different possible flavors going. I got my first, what I thought, high end microphone-I spent savings on an AT4047. I was mixing and matching mics with the pre. Then I got a solid state pre-a Grace 101. I wanted to combine transformer mics with solid state pres, then I wanted to switch it around. I got a TLM102 and put that through a Bae 1073.
I was lucky, I had a girlfriend then(who became my wife) who didn’t look down on my mic nerdom! I was soaking up everything I could on these forums and then I came across someone who truly inspired me.
A poster named ‘KidVybes’
This guy changed the game for me. He is the one who let me know you don’t need to spend thousands to get a thousand dollar sound. Look it all comes down to the room and the performance if we are all going to be honest here.
But he schooled me on components. He knew I was obsessing about saving up for the Sony c800g after I messaged him. He put me on a marvel of a mic-the Stellar CM6. It was super affordable and it sounded GREAT. I began learning what sound I personally liked and didn’t like-what tone I preferred and didn’t prefer.
KidVybes was the man. He answered all of my messages with details-he was so gracious with his time and he was so passionate about audio.
Over the years you build a network of people you trust and who you respect. There are hundreds of PMs I still have from engineers and producers who were all so gracious to me and taught me so much along the way. All I had to do was ask.
I remember personally talking to Wade Goeke at Chandler, Dave Thomas at Advanced Audio,Cliff Maag at Maag-these are giants within the industry and they were still picking up the phone to talk shop years back.
Fast Forward to now, I’ve owned two c800gs, the Manley Reference and pretty much all the mics in between you can imagine. I love this stuff. My favorite pieces all time are the Clariphonic and the 1176. Audioscape is an amazing company too-they inspired me to do what I wanted to do for years, start my own microphone company. They are the epitome of great customer service and hands on passion with customers.
All of these experiences led me to forming Daria Microphones. I went through several prototypes and worked with multiple builders to form the 251X.
I am currently in talks with another very respected builder to perhaps offer a multiple voicing mic via switch although I am not sure we want to go in that direction yet. I want to stay at the 299 price point. I don’t plan on spendings tens of thousands on marketing(the quotes I got from some of these magazines for an ad is RIDICULOUS) only to jack up the price of the mic to cover that overhead. I want to be as grassroots as possible starting out.
I also want to design a 500 series converter interface as I want to be the first to put that on the market!
Also, I want to say that the website is at infancy stage. The website is far from finished. Right now I’m working with several artists to get clips and videos up. It will look more polished with specs over the coming weeks.
Anyways, sorry for the long winded story, I am a pretty high energy guy and one or two lines is not how I roll!
Advertising (or having a rep for being) "modern and bright" is a 100% certain way to guarantee that I will have no interest in buying your product whatsoever.
If I need EQ, it's built into my console, plus I have a few standalone outboard units. What I do NOT need is some guy's idea of what EQ should be baked into a mic.
The thing is, it's much, much easier to create a mic with a "modern" treble boost than it is to design a mic with perfect frequency response from all directions (like a KM84).
The woods are full of mics that tout their "modern, bright" sound. The swimming pool is overcrowded.