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Thread: Behringer may have just taken the lead in "Best Bang/buck" mics

  1. #11
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    Originally posted by Gidge
    Good deal Harvey...Im glad I didnt let my cheapskate ass spring for the 603's yet.....
    Don't get me wrong. We're talking very different flavors here.

    The 603S is a great wide cardioid mic, and more similar in sound to a MC012 or a Neumann KM184. The ECM8000 and the Audix TR-40 omnis would be completely different sounding, more like an Earthworks or B&K (DPA). Each type has a place in a good mic locker.

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    I have never tried it with an amp.....

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    Let me get this straight...you're recommending a $35 behringer mic that you haven't heard yet? You've got some balls Harvey

    If I keep buying all these cheapo microphones I'll never get anything that I like.....but oh well, for $35 I think I'll give one a listen.

    Slackmaster 2000
    Slackmaster 2000

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    Thanks, Harvey. One more thing to add to my Christmas list.

    Christmas list:

    1--MXL 603s
    1--ECM 8000

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    Originally posted by Slackmaster2K
    Let me get this straight...you're recommending a $35 behringer mic that you haven't heard yet? You've got some balls Harvey

    If I keep buying all these cheapo microphones I'll never get anything that I like.....but oh well, for $35 I think I'll give one a listen.
    Slackmaster,

    Yup, and there are some pretty simple reasons why I can recommend the Behringer ECM8000 without first hearing it:

    1. Almost every 1/4" omni measurement mic around uses a Panasonic capsule, so the capsule is a known consistent quality item. It makes no sense to buy the capsules from any other capsule manufacturer; the Panasonic omni is cheap, plentiful, and excellent.

    It's not without precedent; in the 60s, Peerless (a speaker company in England} sold a cheap 2" paper cone tweeter that was flat as a pancake out to 20kHz. They sold them in such large quantities, that the price was incredibly low. We were pulling our hair out at JBL because our tweeter voice coil alone cost us more to make than the whole Peerless tweeter sold for.

    2. If you've been following the polar pattern thread, you already know that omni capsules have a sealed back end, so they are not dependent on the body of the mic for any of the sound, or the polar characteristics. That means Behringer can't do much to screw up the sound - you just put the capsule in a skinny housing that doesn't create acoustic shadows and you're good to go.

    3. The basic mic body design is an exact knockoff of the Audix TR-40 and the MBHO omni measurement mics. I own a pair of Audix TR-40s so I know that the Behringer housing should sound pretty similar to the TR-40. In other words, the housing does not really contribute to the sound. This would not be the case with most pressure gradient designs, but it is true of most 1/4" small diaphragm calibration omni mics.

    So the only real unknowns at this point are the electronics in the Behringer mic body that might be used for amplification. About the only thing that is likely to be affected is the self noise level. Hence, my cautionary note; if you're planning on using them for quiet instruments, wait till I give them a listen next to the Audix.

    But for drum overheads, they should work great, and the $35 price is rediculously low.

    Recommending the Behringer ECM8000s, without hearing them first, is actually a pretty safe bet on my part. I would not recommend any other Behringer mic without hearing several samples first, since quality control, consistency in tensioning, and the actual design of the capsule and the housing would make a major difference in the sound.

    Other than mentioning that the 3 original Autocoms I own (that were actually made in Germany or Austria) are "ok compressors for some things", I have never recommended any Behringer products for serious professional use. I've tried to avoid the whole "Behringer vs. the pro audio world" fight as much as possible over the years.

    I hope this helps explain why I recommended the Behringer ECM8000 without first hearing it.

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    Originally posted by Harvey Gerst
    Slackmaster,

    Yup, and there are some pretty simple reasons why I can recommend the Behringer ECM8000 without first hearing it:

    1. Almost every 1/4" omni measurement mic around uses a Panasonic capsule, so the capsule is a known consistent quality item. It makes no sense to buy the capsules from any other capsule manufacturer; the Panasonic omni is cheap, plentiful, and excellent.

    It's not without precedent; in the 60s, Peerless (a speaker company in England} sold a cheap 2" paper cone tweeter that was flat as a pancake out to 20kHz. They sold them in such large quantities, that the price was incredibly low. We were pulling our hair out at JBL because our tweeter voice coil alone cost us more to make than the whole Peerless tweeter sold for.

    2. If you've been following the polar pattern thread, you already know that omni capsules have a sealed back end, so they are not dependent on the body of the mic for any of the sound, or the polar characteristics. That means Behringer can't do much to screw up the sound - you just put the capsule in a skinny housing that doesn't create acoustic shadows and you're good to go.

    3. The basic mic body design is an exact knockoff of the Audix TR-40 and the MBHO omni measurement mics. I own a pair of Audix TR-40s so I know that the Behringer housing should sound pretty similar to the TR-40. In other words, the housing does not really contribute to the sound. This would not be the case with most pressure gradient designs, but it is true of most 1/4" small diaphragm calibration omni mics.

    So the only real unknowns at this point are the electronics in the Behringer mic body that might be used for amplification. About the only thing that is likely to be affected is the self noise level. Hence, my cautionary note; if you're planning on using them for quiet instruments, wait till I give them a listen next to the Audix.

    But for drum overheads, they should work great, and the $35 price is rediculously low.

    Recommending the Behringer ECM8000s, without hearing them first, is actually a pretty safe bet on my part. I would not recommend any other Behringer mic without hearing several samples first, since quality control, consistency in tensioning, and the actual design of the capsule and the housing would make a major difference in the sound.

    Other than mentioning that the 3 original Autocoms I own (that were actually made in Germany or Austria) are "ok compressors for some things", I have never recommended any Behringer products for serious professional use. I've tried to avoid the whole "Behringer vs. the pro audio world" fight as much as possible over the years.

    I hope this helps explain why I recommended the Behringer ECM8000 without first hearing it.

    And all that for $35.00 !!!!! Man, I spend more on that in beer ALONE!!!!!!!

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    Question

    Other than room measurement and over-heads, what other ways can this mic be used!!??

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    I'm going to get another one......

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    Originally posted by MISTERQCUE
    Other than room measurement and over-heads, what other ways can this mic be used!!??
    Assuming the noise level is roughly the same as the Audix TR-40 (i.e., pretty low), it would be a great mic for recording acoustic guitar (both steel string and nylon), violin, pipe organ, choirs, flute, tamborine, shakers, guiros, bell trees, maracas and castanets, even mandolin and banjo.

    Think of any situation where you want a neutral, accurate recording of something with a lot of delicate high end content. Most single diaphragm small omnis don't have many high end peaks, so the response up high is very smooth.

    The only drawbacks are where the instrument is either very quiet (and the self noise might be a problem, like recording a quiet classical harp), or you want a particular type of mic coloration, for recording vocals, electric guitars, electric bass, toms, snares and kicks.

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    Thumbs up

    I thank you sincerely my good man!

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