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Post by Johnkenn on May 21, 2018 18:38:11 GMT -6
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Post by guitfiddler on May 21, 2018 19:27:27 GMT -6
That's money right there!
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Post by sozocaps on May 21, 2018 19:43:19 GMT -6
I just listened to a wav of the mic when we first put my cap in there.... It was great but much more harsh then it is now it's like not even the same mic.
Guess my mics will have to go back to Shannon LOL
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Post by Johnkenn on May 21, 2018 19:46:41 GMT -6
I just listened to a wav of the mic when we first put my cap in there.... It was great but much more harsh then it is now it's like not even the same mic. Guess my mics will have to go back to Shannon LOL Yeah. I have a before and after if people are interested. And I thought it was pretty great before. Btw - I think your capacitor helps too. |
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Post by sozocaps on May 21, 2018 20:09:17 GMT -6
not sure it gets any better bud... LOL but we have been wrong before apparently.
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Post by thehightenor on May 22, 2018 4:07:11 GMT -6
Sounds great to me. Do you still normally track with a Retro STA Level in the path after your pre-amp? |
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Post by reddirt on May 22, 2018 6:30:28 GMT -6
Sounds very good with no obvious issues John, then again at that price you would expect that and IMO there are other mics that also would handle that piece just as well in their own way.
So what makes it worth it as opposed to others? - it really comes down to using it in your own environment and finding that it does what you need with grace; you don't need to fight with it to fix it's imperfections and it sits in the track and sounds like a record.
Spending time with a mic is so necessary to know if it's right for you, folks.
Cheers Ross
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Post by Johnkenn on May 22, 2018 7:18:31 GMT -6
Sounds very good with no obvious issues John, then again at that price you would expect that and IMO there are other mics that also would handle that piece just as well in their own way. So what makes it worth it as opposed to others? - it really comes down to using it in your own environment and finding that it does what you need with grace; you don't need to fight with it to fix it's imperfections and it sits in the track and sounds like a record. Spending time with a mic is so necessary to know if it's right for you, folks. Cheers Ross I’ve tried a ton of mics. I’ve sounded brittle on a ton of them. Telefunken included. The Telefunken with the original ck12 and ac701 ($11k 10 years ago) sounded phenomenal. I’ve had Wunders for $6k, Pelusos, Neumanns, etc. most of them had that bite or zing. I really believe it’s 90% about capsule quality. Now, if you are doing voiceovers or don’t sing really dynamically, you really might not run into this issue. You don’t run into the zing until you push the mic...so maybe I just have a problem voice. |
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Post by Johnkenn on May 22, 2018 7:19:22 GMT -6
Sounds great to me. Do you still normally track with a Retro STA Level in the path after your pre-amp? Haven’t had a sta-level in a while. |
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Post by jcoutu1 on May 22, 2018 7:28:46 GMT -6
This doesn't really sound like a 251 to my ears now. I've always associated the 251 with a bit of bite in the mids and that bite is gone here. Sounds amazing, but not what I would expect of a 251. |
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Post by Johnkenn on May 22, 2018 8:36:05 GMT -6
Every Vintage 251 I’ve heard is big and thick like this. Jeff’s especially. I’m afraid that Telefunken has left the impression that they’re bright mics. Regardless, this is an edge terminated ck12 on a 251 circuit, so whether they are supposed to sound like this or not, this shows that it CAN sound like that.
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Post by reddirt on May 22, 2018 8:48:48 GMT -6
Your point about aggression is what irks me too. I've followed your mic travails from years back and if it works for you now, I'll raise a glass to that!
Personally and at the risk of starting a crazy argument -please don't folks - it's just my impression, ,one of the best vocal sounds ( widest / smoothest / easiest to deal with) I've ever achieved was with an 80s 451 EB through a Yamaha RM 804 onto a Tascam 38.
Analogue tape coupled with the recessed 451 mids worked as a system but you wouldn't have put money on it until you heard it given the supposed lo- fi quality of the eqpt.
Now my best is a Beesneez Arabella or km 84 or 451 or cmv 563 with a Bowie tube or Stamp 87 into a BAE 1073mp into an MH ULN-2 depending on the artist; I'm always changing mics trying to mitigate that upper mid attack without killing definition.
It's a black art for sure.....
Cheers, Ross
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Post by Johnkenn on May 22, 2018 9:05:08 GMT -6
Also - I think this whole search is about finding a mic that doesn’t “zing”. One that doesn’t have that dental drill, piercing overtone when you lay into it. A mic that remains consistent in its representation no matter how hard you hit it - one that doesn’t “pinch.” There are so many different ways to describe it. So - I’m not sure the flavor of the equalization of the mic really matters that much at all. For me, it was always about finding a mic that didn’t become painful (or didn’t start out painful lol). Although, there’s no denying some mics have a sonic stamp/characteristic that seems to be recognizable: that euphonic midrange and bottom of a u47...the buzzy reed-like saxophone quality of a 251...etc.
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Post by geoff738 on May 22, 2018 18:28:27 GMT -6
Sounds great to me. Do you still normally track with a Retro STA Level in the path after your pre-amp? Haven’t had a sta-level in a while. Man, me and my avatar are always the last to know. That pic is what, 3Stas ago? What, if anything, are you using instead? Cheers, Geoff |
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Post by Johnkenn on May 22, 2018 19:29:50 GMT -6
I can't tell...the last one I had for about a year and a half or so...Had a little nick in the left input knob...but I digress. Using an Audioscape Opto. Really awesome. I ultimately convinced myself that the Sta-Level was a little glassy...could add something a little extra on top (along with the big bottom). It's a fantastic piece, I just really kept thinking how much I could do with that $2500...and I ultimately found a couple pieces (TG Opto, Audio Scape Opto) that does the job just as well without as much sonic footprint. Also - as my mics have gotten better, the less I felt like I needed that big bottom end the Sta adds...annnnd I'm finding more and more I'm leaning to a more modern vocal sound (at least for the genres I get the most work in).
But thanks...now I want another Sta-level.
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Post by Johnkenn on May 22, 2018 19:33:00 GMT -6
That whole Katie Rundell EP I did was tracked through the 251-VP28-TG Opto...Came out really great.
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Post by geoff738 on May 22, 2018 20:03:39 GMT -6
But thanks...now I want another Sta-level. Heh. The least I could do! The pic dates back to whenever I joined. I think at least a couple Stas passed through your place since then but that’s just the ones I’ve heard about. Sounds like youre finally getting your vocal chain dialled in to where you’re happy. I’ve said this before to you but try to let the gear gas go for a bit and just make some music for a while. I know I know. So much gear, so little time. Cheers, Geoff |
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Post by Johnkenn on May 22, 2018 20:13:31 GMT -6
See, that was four years ago...I've probably had two since 2014. I've said this before, but I really don't spend that much on gear in comparison to most. Most of the time, I let something else go to buy something new, so it's usually not much of a loss. It's my hobby as well as my job. I enjoy it.
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Post by geoff738 on May 22, 2018 20:42:14 GMT -6
See, that was four years ago...I've probably had two since 2014. I've said this before, but I really don't spend that much on gear in comparison to most. Most of the time, I let something else go to buy something new, so it's usually not much of a loss. It's my hobby as well as my job. I enjoy it. Yeah, I get it. After all, gear is part of the title of the site. You get to try a lot of stuff and see what works and what doesn’t for you but for the most part I think the level of stuff you’re trying out none of it is going to stink. I guess just not to get too obsessed over it at the expense of making music is what I’m getting at. Although if we weren’t at least a little obsessed over gear none of us would be here. Or most of us. And I enjoy hearing others experiences with new to them gear, yourself included, so there’s that. There’s always new gear coming out. Plus, I haven’t gone to the purple place in years. So I rely on the community here for that kind of info. Oy vey, rambling. Pints. Cheers, Geoff |
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Post by ericn on May 22, 2018 20:46:06 GMT -6
See, that was four years ago...I've probably had two since 2014. I've said this before, but I really don't spend that much on gear in comparison to most. Most of the time, I let something else go to buy something new, so it's usually not much of a loss. It's my hobby as well as my job. I enjoy it. True But my friend you are the definition of gear dejavue |
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Post by Johnkenn on May 22, 2018 20:59:02 GMT -6
Oh yeah. I’ll prob have another Sta at some point.
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Post by thehightenor on May 23, 2018 0:45:15 GMT -6
Also - I think this whole search is about finding a mic that doesn’t “zing”. One that doesn’t have that dental drill, piercing overtone when you lay into it. A mic that remains consistent in its representation no matter how hard you hit it - one that doesn’t “pinch.” There are so many different ways to describe it. So - I’m not sure the flavor of the equalization of the mic really matters that much at all. For me, it was always about finding a mic that didn’t become painful (or didn’t start out painful lol). Although, there’s no denying some mics have a sonic stamp/characteristic that seems to be recognizable: that euphonic midrange and bottom of a u47...the buzzy reed-like saxophone quality of a 251...etc. I only have a Retro STA level after getting inspired by your enthusiasm for it :-) I was lucky and found a mint one second hand, because here in the UK brand new they cost $4000 which feels crazy for a mono comp. I have a bright high tenor voice and what I love about the STA is it's like putting on a cool pair of sunglasses on my bright tone, it just takes the "zing" as you put it out of my vocal when I'm really belting it out - I've also notice the STA virtually removes any need to de-ess afterwards. In my case I have a Wunder CM7 (M7 cap) and I know it's not the mic that has the "zing" as I've recorded lot's of other people with my CM7 and it just sounds beautifully smooth on top and has that reedy U47 mid thing. I really do zing (you're right "zing" is the perfect word to describe it) on any LDC mic when I'm in my upper register - I find the STA level is my heat shield. |
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Post by Johnkenn on May 23, 2018 7:09:42 GMT -6
The zing is why I sold the CM7. It was more guilty than the gt’s.
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Post by Ward on May 23, 2018 7:25:51 GMT -6
This doesn't really sound like a 251 to my ears now. I've always associated the 251 with a bit of bite in the mids and that bite is gone here. Sounds amazing, but not what I would expect of a 251. UH OH . . . we're agreeing again, Jesse! Starting to sound like a Sony C800G - not that that's a bad thing. |
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Post by jcoutu1 on May 23, 2018 7:50:00 GMT -6
...the buzzy reed-like saxophone quality of a 251...etc. That's what I feel like is dialed out with the new capsule. The pushed zing is a different thing (also gone from this capsule), but I was talking about that reedy push in the mids. |
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