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Post by Vincent R. on Nov 23, 2019 11:47:00 GMT -6
With a 30 day return policy, it looked like a no brainer to me. I’ll try it along side my max mod 87 and see what the differences are. I may still have indiehouse do the transformer swap on my max mod at some point as well We’d love to hear that if you don’t mind posting something. |
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Post by EmRR on Nov 23, 2019 12:01:46 GMT -6
I can do the transformer transplant as well if anyone needs, and indiehouse is unavailable. I can also add the power supply amplifier test jack if anyone wants it, see the earliest manual for the description. I do a good bit of certain vintage studio audio repair and modification if people are unaware of it. realgearonline.com/thread/6652/diy-restore-mod-rack-threads |
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Post by Vincent R. on Nov 23, 2019 12:57:53 GMT -6
What is the power supply amplifier test jack?
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Post by EmRR on Nov 23, 2019 13:11:27 GMT -6
A way to test the frequency response of the amplifier section of the mic.
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Post by indiehouse on Nov 23, 2019 22:58:17 GMT -6
I can do the transformer transplant as well if anyone needs, and indiehouse is unavailable. I can also add the power supply amplifier test jack if anyone wants it, see the earliest manual for the description. I do a good bit of certain vintage studio audio repair and modification if people are unaware of it. realgearonline.com/thread/6652/diy-restore-mod-rack-threadsDoug’s a good dude. |
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Post by drsax on Nov 27, 2019 21:37:45 GMT -6
Got the 67 Reissue in tonight. Sounds excellent! Compared it against my Max Mod 67 (with a Gotham cable and the stock PF86 tube) and wow... very happy with the results. I’m gonna be able to use these as a stereo pair! The reissue is very slightly less congested, a bit smoother, and slightly nicer overall... so I’m happy about that... but they are definitely close enough to use as a stereo pair. Volume level of each mic was nearly identical, once again, close enough to use in stereo. I recorded a single tenor sax pass on them simultaneously running through my stereo Silver Bullet mic pre if anyone wants to check it out. Nothing fancy... just a quick take, mistakes and all. Here’s a link to raw WAV files if anyone wants to line them up in a session and flip back and forth to really compare the differences (which are less than I expected). There are 3 level matched WAV Files - The Reissue Flat, Max Mod Flat, and Max Mod with a bit of a High Frequency EQ Boost, along with a screenshot of the EQ Boost: Dropbox Link - U67 Reissue vs Max Mod U67 - 24-Bit 44.1kHz WAV Files |
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Post by Mister Chase on Nov 28, 2019 0:46:37 GMT -6
Got the 67 Reissue in tonight. Sounds excellent! Compared it against my Max Mod 67 (with a Gotham cable and the stock PF86 tube) and wow... very happy with the results. I’m gonna be able to use these as a stereo pair! The reissue is very slightly less congested, a bit smoother, and slightly nicer overall... so I’m happy about that... but they are definitely close enough to use as a stereo pair. Volume level of each mic was nearly identical, once again, close enough to use in stereo. I recorded a single tenor sax pass on them simultaneously running through my stereo Silver Bullet mic pre if anyone wants to check it out. Nothing fancy... just a quick take, mistakes and all. Here’s a link to raw WAV files if anyone wants to line them up in a session and flip back and forth to really compare the differences (which are less than I expected). There are 3 level matched WAV Files - The Reissue Flat, Max Mod Flat, and Max Mod with a bit of a High Frequency EQ Boost, along with a screenshot of the EQ Boost: Dropbox Link - U67 Reissue vs Max Mod U67 - 24-Bit 44.1kHz WAV FilesYour username is spot on. You are a killer player, and judging by what I've heard before, that is no surprise. Let me guess, you aren't into crazy expensive ligatures or mouthpieces are you? You've probably got what came on the sax. I know guys who rip that just the stock stuff. Some guys go nuts with that stuff.
What tenor is it? My buddy who just got a military band gig on alto is using their inventory Selmer Paris horn. He's personally got a Keilwerth and recently a 50's King Super 20.
Anyway, the mics sound great. Glad you got them to compare and thanks for the clips.
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Post by Vincent R. on Nov 28, 2019 9:49:53 GMT -6
It’s funny, I’ve been pretty nit picky over the MK67, but one of the things I’ve said is how I thought it would sound wonderful on brass. While I know technically sax is a reed, drsax I think you just proved my point. I do feel there is more of a difference than you seem to, but my guess is for your application that probably doesn’t matter as much. I also echo Mister Chase , you are a wonderful player and I enjoy all the samples you post. Thanks for this.  |
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Post by drsax on Nov 28, 2019 10:30:39 GMT -6
Got the 67 Reissue in tonight. Sounds excellent! Compared it against my Max Mod 67 (with a Gotham cable and the stock PF86 tube) and wow... very happy with the results. I’m gonna be able to use these as a stereo pair! The reissue is very slightly less congested, a bit smoother, and slightly nicer overall... so I’m happy about that... but they are definitely close enough to use as a stereo pair. Volume level of each mic was nearly identical, once again, close enough to use in stereo. I recorded a single tenor sax pass on them simultaneously running through my stereo Silver Bullet mic pre if anyone wants to check it out. Nothing fancy... just a quick take, mistakes and all. Here’s a link to raw WAV files if anyone wants to line them up in a session and flip back and forth to really compare the differences (which are less than I expected). There are 3 level matched WAV Files - The Reissue Flat, Max Mod Flat, and Max Mod with a bit of a High Frequency EQ Boost, along with a screenshot of the EQ Boost: Dropbox Link - U67 Reissue vs Max Mod U67 - 24-Bit 44.1kHz WAV FilesYour username is spot on. You are a killer player, and judging by what I've heard before, that is no surprise. Let me guess, you aren't into crazy expensive ligatures or mouthpieces are you? You've probably got what came on the sax. I know guys who rip that just the stock stuff. Some guys go nuts with that stuff.
What tenor is it? My buddy who just got a military band gig on alto is using their inventory Selmer Paris horn. He's personally got a Keilwerth and recently a 50's King Super 20.
Anyway, the mics sound great. Glad you got them to compare and thanks for the clips.
Aw thanks for the very kind words man, I sure appreciate that. I am fortunate to have companies behind me that make incredible tools... but, you are correct that a great sound originates with the individual player. My mouthpiece is not crazy expensive... moderately priced - the JodyJazz Giant. Reed is a MARCA vintage American, and ligature is pretty pricey, a Silverstein Hexa, and the horn is a P Mauriat 66RSS. I think the most important thing about a sax setup is that it gets out of the way and allows the player to just play. |
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Post by EmRR on Nov 28, 2019 10:35:32 GMT -6
Interesting, your report would seem to support my suspicion that the mk67 transformers are all over the place in terms of sound quality and winding spec. You could not take mine as it was and use it in stereo with what it became after putting a Neuman transformer in it. Gain is even 4dB different.
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Post by drsax on Nov 28, 2019 10:37:10 GMT -6
It’s funny, I’ve been pretty nit picky over the MK67, but one of the things I’ve said is how I thought it would sound wonderful on brass. While I know technically sax is a reed, drsax I think you just proved my point. I do feel there is more of a difference than you seem to, but my guess is for your application that probably doesn’t matter as much. I also echo Mister Chase , you are a wonderful player and I enjoy all the samples you post. Thanks for this. Thanks so much Vincent! Yeah, I definitely hear the difference and was thinking last night that I think the difference would be even more noticeable on a great vocalist. But the difference was just closer than I expected. I am seriously considering the transformer swap in my Max Mod. That said, my NOS Tele EF86 that was in my Max Mod recently started acting up, and so I put this PF86 back in. The EF86 was a definite improvement over the PF86 in this recording. The differences I’m hearing seem like they could possibly be overcome with a tube and transformer swap. Either way, the 67 reissue is probably gonna stay. I hear it’s goodness and like it |
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Post by Ward on Nov 29, 2019 13:17:12 GMT -6
Got the 67 Reissue in tonight. Sounds excellent! Compared it against my Max Mod 67 (with a Gotham cable and the stock PF86 tube) and wow... very happy with the results. I’m gonna be able to use these as a stereo pair! The reissue is very slightly less congested, a bit smoother, and slightly nicer overall... so I’m happy about that... but they are definitely close enough to use as a stereo pair. Volume level of each mic was nearly identical, once again, close enough to use in stereo. I recorded a single tenor sax pass on them simultaneously running through my stereo Silver Bullet mic pre if anyone wants to check it out. Nothing fancy... just a quick take, mistakes and all. Here’s a link to raw WAV files if anyone wants to line them up in a session and flip back and forth to really compare the differences (which are less than I expected). There are 3 level matched WAV Files - The Reissue Flat, Max Mod Flat, and Max Mod with a bit of a High Frequency EQ Boost, along with a screenshot of the EQ Boost: Dropbox Link - U67 Reissue vs Max Mod U67 - 24-Bit 44.1kHz WAV FilesHey Brother, is this the same sax you used on the tracks you did for me/my client? Because if it is, stick with the REDD... that microphone gave me the most perfect saxophone tracks I've ever heard, Now the reissue U67 sounds AMAZINGLY real, better than the Max Mod, but the REDD still edges it out. If you go for an EF806s for your U67 it'll probably sound even better. So many choices! An embarrassment of riches.  |
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Post by Martin John Butler on Nov 29, 2019 18:08:43 GMT -6
Great post drsax, and great playing too. The reissue 67 just sounds right, no congestion. The Max Mod sounds really good, but is missing that slight bit of transparency that makes the difference worth the money if you can swing it. I also have wondered if that difference is the transformer. So far, the best non-Neumann transformer I've heard is the AMI Oliver Archut BV-8.
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Post by chessparov on Nov 29, 2019 18:42:52 GMT -6
Wow! Ward thinks the REDD's even a little better, than that U67 RI.
Now that's sayn' something...
Chris
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Post by Vincent R. on Nov 29, 2019 19:13:56 GMT -6
Wow! Ward thinks the REDD's even a little better, than that U67 RI. Now that's sayn' something... Chris It’s all about the source. |
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Post by ragan on Nov 29, 2019 19:19:20 GMT -6
Great post drsax, and great playing too. The reissue 67 just sounds right, no congestion. The Max Mod sounds really good, but is missing that slight bit of transparency that makes the difference worth the money if you can swing it. I also have wondered if that difference is the transformer. So far, the best non-Neumann transformer I've heard is the AMI Oliver Archut BV-8. The transformer is the only real difference between the two so I think that has to be it. |
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Post by Martin John Butler on Nov 29, 2019 20:42:02 GMT -6
I'd of course need to have them both to try at the same time, but after having the REDD for a little while, I'd probably choose it over a reissue 67. We speak of mojo so often I hate the word by now, but the REDD has it is spades.
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Post by aremos on Nov 29, 2019 21:02:13 GMT -6
Like it was stated, it's completely source related. I have both & you'd be surprised how different they sound on different voices. That said, they do complement each other.
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Post by Vincent R. on Nov 29, 2019 21:08:06 GMT -6
I'd of course need to have them both to try at the same time, but after having the REDD for a little while, I'd probably choose it over a reissue 67. We speak of mojo so often I hate the word by now, but the REDD has it is spades. I’d say it would depend what you were recording. Chances are a featured sax solo would soar with the REDD, but a sax section would do better with the U67. I would probably do the same over here recording brass or sax, choosing my FleA 49 for featured solo work and U67 style mics for a section. |
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Post by Vincent R. on Nov 29, 2019 21:09:23 GMT -6
Like it was stated, it's completely source related. I have both & you'd be surprised how different they sound on different voices. That said, they do complement each other. Agreed. I personally didn’t love the REDD for the work I do and would choose the U67 over it on mine and my wife’s voices. I’ve also heard it on a number of other sources and voices where I was extremely impressed. |
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Post by drsax on Nov 30, 2019 10:32:23 GMT -6
Got the 67 Reissue in tonight. Sounds excellent! Compared it against my Max Mod 67 (with a Gotham cable and the stock PF86 tube) and wow... very happy with the results. I’m gonna be able to use these as a stereo pair! The reissue is very slightly less congested, a bit smoother, and slightly nicer overall... so I’m happy about that... but they are definitely close enough to use as a stereo pair. Volume level of each mic was nearly identical, once again, close enough to use in stereo. I recorded a single tenor sax pass on them simultaneously running through my stereo Silver Bullet mic pre if anyone wants to check it out. Nothing fancy... just a quick take, mistakes and all. Here’s a link to raw WAV files if anyone wants to line them up in a session and flip back and forth to really compare the differences (which are less than I expected). There are 3 level matched WAV Files - The Reissue Flat, Max Mod Flat, and Max Mod with a bit of a High Frequency EQ Boost, along with a screenshot of the EQ Boost: Dropbox Link - U67 Reissue vs Max Mod U67 - 24-Bit 44.1kHz WAV FilesHey Brother, is this the same sax you used on the tracks you did for me/my client? Because if it is, stick with the REDD... that microphone gave me the most perfect saxophone tracks I've ever heard, Now the reissue U67 sounds AMAZINGLY real, better than the Max Mod, but the REDD still edges it out. If you go for an EF806s for your U67 it'll probably sound even better. So many choices! An embarrassment of riches. aw thanks brother!! And I agree!! The REDD is better on my sax. And yes, this is the same saxophone I recorded on for you. Just threw these two up and played to compare the two... but the REDD is SO nice - love it on my saxophone!!! |
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Post by drsax on Nov 30, 2019 10:33:48 GMT -6
Wow! Ward thinks the REDD's even a little better, than that U67 RI. Now that's sayn' something... Chris I concur too... horses for courses, and each microphone will excel on different sources, but the REDD mic is absolutely unbelievable, and works on so well on so many sources |
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Post by drsax on Nov 30, 2019 10:35:18 GMT -6
I'd of course need to have them both to try at the same time, but after having the REDD for a little while, I'd probably choose it over a reissue 67. We speak of mojo so often I hate the word by now, but the REDD has it is spades. I’d say it would depend what you were recording. Chances are a featured sax solo would soar with the REDD, but a sax section would do better with the U67. I would probably do the same over here recording brass or sax, choosing my FleA 49 for featured solo work and U67 style mics for a section. yeah, and it would also have a lot to do with the individual player. Some of the guys that play with a super super bright sound would probably sound better on the 67 |
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Post by Ward on Nov 30, 2019 10:53:40 GMT -6
Wow! Ward thinks the REDD's even a little better, than that U67 RI. Now that's sayn' something... Chris It’s all about the source. yes, that's precisely correct! The REDD and the U67 each have their strengths. THe REDD on Sax was absolutely fantastic. The U67 on male vocals is ASTOUNDING. Of course a U67 on anything is completely fab. Just on Darren's sax, I loved the way the REDD mic worked. It edited itself. |
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Post by Vincent R. on Dec 5, 2019 13:42:38 GMT -6
Ok, so the latest version of the MK67 arrived on my doorstep today and I did a very quick test on an operatic vocal. It's not scientific as I had to do the Vintage Mode, Reissue Mode, and TLM67 on separate takes. I also included my BLUE Bottle Rocket Stage II with the B11 Capsule, which has been my 67 style mic for a while now. It was recorded simultaneously with the MK67 in Vintage mode. I'm approx 18" from the mics. All of them were run through my Dan Alexander Dual Channel Class A preamp (Neve 1272), as that's how I would use it in here on vocals anyway. I've also included a quick scan through the BLUE CAT Frequency Analyzer so you can see how each is capturing sound. Here they are, warts and all.
I have to say, I really like what the Reissue Mode is doing and I'm looking forward to experimenting more with it.
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