Mic Quandry

I'm not claiming that the BN or Miktek are b equal to or better than $4k mics, but if you can't make good records with these 1-2k LDC's there is something else at fault. To claim that they're total bullshit is short sighted.

John, it's both warm, (slight push in the low end), and mid-forward, sparkly, but not harsh. I briefly listened on headphones to the the new Neumann TLM107 at the AES show, and they sound like they're from the same family, in fact, I think I liked the Gauge better, it's just closer the the 87.

Now you're talkin' Popmann, there's just something about certain mics. I once used an original AKG C12 that was so mind blowing, you'd do anything to own it, yet I've heard tracks with the same model but a different mic that are very good quality, but nothing exceptional. One thing about the U87, it's consistently good on multitrack recordings, it basically just works well in general.

Well, no, you're insulted because you own those I named. Which is different. And potentially unfairly-I recognize AND apologize for that. But, I don't know another way I can express the long view the trends of 20+ years. It's also completely unfair to the two companies, as well--but had I named the 15 that came before them, people would simply say "well of course THOSE are overhyped rebranded imports".

For the record though, and this is important-- I never said you couldn't get good results with anything. NEVER take things I say like that, please. What I'm simply saying is that, again 100% IME, you will get no significantly better/easier track for your spend than other non LDC options. Just not a single mic for all.

But, the mod thing is a new spin...while I don't have a lot of love for the concept of buying one mic and having someone "fix it"...I'd rather hear what I'm buying...there is potential in that, since at ALL price levels, QC on the capsule is the biggest deal, IME. I've had "matched sets" of Neumann 149s that one was clearly nicer sounding that the other. The greatest issue with 87AIs I've demonstrated here with having a bunch at once...and a bunch of the original 87i with serials spanning more than a decade--the old ones were completely consistent and interchangeable. The AIs were all over the map. one was killer...the next was "ehh"...and one was so bad I swapped it mid session for an sm7 and my ears went "Ahh...thank you". And having personally experienced what Tracy Korby could do (meaning variations of sound) simply by tuning the capsule...

That the thing...121s...sm7...sm58...sm81s...I recommend and use those so much because I've never had one or used one that sounded different. and some I've used looked like they had been in a war...and still sounded like the brand new one next to it. JK posted a link to and SDC shootout a while back and I thought "sure there are some nuanced differences, buy this is all variations on a theme--LDCs are not that, IME. This is going to sound extreme but I'd rather someone use a $100 octava SDC for acoustic guitar and a sm58 for vocals and amps than buy a $1500 LDC and use it for all three. So, please don't take my opinion that there aren't old budget recording options, IMO--they just aren't generally LDCs. That's a $200 mic spend for a singer songwriter's home studio. I want clarify that...it's fine to not agree with the opinion, but I don't want to imply that it's an elitist thing...like "well if you can't afford a vintage m269 you should just not record". I look at the advice as actually empowering to the struggling artist recording themselves.

And I ALWAYS make the statement...if a maker wants to lend me MICS that I'm allowed to buy...no cherry picked demo unit BS...I'll gladly publicly say someone's cracked the nut. I never thought I'd own a Marshall amp, because they only sounded good on 9+...Bob Reinhardt cracked the fn nut. My power scaled Storm33 was bought at retail because it did "Marshall on 10" without shaking the walls. It's not, um like bedroom/apt volume....anyway--that's why I dont mind naming names, because I am ALWAYS and actually HOPEFUL that they make me eat crow. I'd love a pair of m269s. C12s. I would love the WORLD to have them. I'm a little afraid that it's gonna be like tubes...people died with some undocumented knowledge...now, it's lost. They're not the same-sound, reliability, lifespan....

Also popmann you ignored my question about which mics in this 1-2k price range you've used, and by default been let down by.

Also, what do you have in your locker? You mainly do mixing right, so I assume just a few staples for when you need to do some overdubs at your location? Am I off base? Just looking for a frame of reference.

I only have two LDCs...old gefell UM70s and 414eb. The opposites, if you will. The Gefell is just for me, though, since Korby cleaned it up. Iv'e literally had singers here who can't tell the diffenece in it an the sm7, so my public yin and yang are the sm7 and 414.

I preach that which I do...I've got a pair of 81s here that handle the Leslie(sm7 on bottom), piano, and acoustic guitars....Royer 121, 421, and Sm7 handle amp duties. Never been happier with my own tracking quality. But, I just track for me...meaning what I play, whomever it's for...and the occasional guest. The Gefell is truly KILELR on tenor sax, as example.

I spent I don't know how long and how many dollars in Blackbird's mic closet...and seriously, I bet I've had some hundred+ of (at least then modern) LDCs over the years...and it just kept--well the vintage ones were killer, and I couldn't afford to own them...and the others just weren't better than SDC/dynamics or the Royer. In fact the Royer a mic that hung from that whole let's check out new mics era.

I mean, you want a list? It's not so much that I'm ignoring it....as I've been at this a lot of years...and a lot of mics--off the top of my head....Soundelux U95, 95s (completely different mic fwiw), U99...Neumann TLM193, 103...ADK TC, Hamburg...AT 4047, 4033, 4050, 4060...Blue Kiwi...Gefell's UMT70 (new one-not the old one I own)...87AIs (some of them WERE good--some, not so much)....Mojave MA200....Peluso 2247....somebody's 251, but not Peluso's (I remember that because I had someone tell me after that was the "better" one)...Telefunken sent a few named after guns (that what I remember-named after guns, sounded like poo on everything)...I know some of the above don't make that price range....but, I'm just rattling ones I've owned...where they started making sounds I liked were the Manley Black and the Korby stuff which was about $3-4k'ish. The M149 was nice. Similar range. But, I mean disappointed is so strong. What is it that one is going to track that you think that would be better? I mean, I liked the Neumann TLM stuff on acoustic guitar...but, I need a $1k acoustic guitar mic like a hole in my head. The exceptions are funny too--I liked the Sputnik I was sent for review--and told I couldn't buy THAT one...always wished AT made a multipattern 4060--instead, both companies quit making both! Ha.

Which is my point -not that there wasn't something redeeming about a given mic. There obviously was...else I wouldn't have bought the ones I did. Mine is a long view. I made nice sounding recordings...and some admitted not so nice sounding ones (not due to the mics) all along the way. But, I just have to shake my head now....being as happy as I am with my own stuff....with what amounts to mics I could've (both technically AND starving young artist budget) bought 20 years ago.So, I spread the word. Start with good LDDs and SDCs....and measure everything against them. Baseline, really. It turns out, I'm relatively happy at the baseline! Or maybe baseline plus the Royer...Who'd have thunk after so many years and so many mics?

Wait...JK....new idea for a title for me "resident underachiever".

Bill? No, don't think he's ever worked with Bill Bradley...

Exactly my thoughts. GS follows the money, they made that clear more than once.

They may have 1000 times the traffic of this site, but they also have 1000 times the hype, the wannabes and the BS. Yes, economically, GS is better off (and if that is the goal of the forum - as it now seems to be - than they are very successful), but the credibility and fun factor here is 1000 times higher than over there. Not only that, the quality of information and content here is a lot more valuable. You really have to dig deep these days at GS and long gone are the days when reputable posters gave great tips and insight that actually helped me develop my skills. Most of these guys have been driven away by the increased signal to noise ratio.

I'm glad that I stayed away from BeezNeez and went with companies like Royer, Andreas Grosser and even Neumann. Apart from the 'quality' of the product (not to mention the look of that hideous logo), as one GS poster said in that gloriously deleted thread 'Using an ailing daughter and the fact that he is "busy" as an excuse is despicable.' Couldn't have said it better.

We should start a "What's in your microphone locker" thread too!

Locker? What's in my microphone case would be more like it ;-)