review on marshall mics at pro rec..

If ALL the crappy large diaphram condenser out their could get this kind of "real" review....*sigh*...audio would be a better thing.

Ed
 
Is this mic made by 797 Audio and just branded by Marshall?

Also, would this guy say the same about e.g. C3000 and NT1 or is the Marshall one exceptionally poor?

/Ola


[This message has been edited by ola (edited 03-27-2000).]
 
Is this mic made by 797 Audio and just branded by Marshall?

Also, would this guy say the same about e.g. C3000 and NT1 or is the Marshall one exceptionally poor? He insinuates at the end that "even Röde" would be better but would (or has) he thrashed their low-end mics?

/Ola
 
The 2001 is not made by 797 Audio, but the 2003 is. That is a review I hope is coming soon.

His take on the v-77 tube, which is 797's cr100 with a slight cosmetic change and Marshall name, would be welcome, as well.

It won't be long - within a few months these mics will either fly or tank and everyone will be the better for the ride (except a few of us, of course).

Lee

(Oh, by the way, see my earlier "797 wars, daddy" post. The recently edited version includes a comment from the rec.pro newsgroup that should really stir things up!)

[This message has been edited by lbzx (edited 03-27-2000).]
 
The bad review kinda' concerns me but I really have to take it with a grain of panic. I recently bought one of these mics. For my purpose, it seems quite adequate. Hell, I only spent $30 on the n-trak studio software license. I was using a cheap radio shack knock-off dynamic mic, with a Sound Blaster 16. I got the SB Live and this MXL2001P and I can actually make a respectable working tape of my music!

If I wanted to achieve market quality recordings, I would go pay the going rate for an expert Recording Engineer with all the best equipment. The point I want to make here is... Compromise is okay as long as you keep things in perspective.

I must comment that... unlike the editor who trashed the microphone, I did not tear the thing apart, fart around with the shock mount, or otherwise try to intentionally screw the thing to tears! Simply put... It seems okay to this Newbie.
 
The funny part is, the mic seems to be getting good reviews in other publications...
(kinda makes you wonder if some reviewers get some money under the table...)
 
I have to tend to agree with Blue on this one. The reason that bargain mics are out there is because some of us desperately need a bargain. If other companies want our business, they will offer some cool bargains, too. So I bought one of these Marshalls and I am not disappointed (yet). It makes me wonder how a $2000 mic sounds but I have to sell a couple of albums or be offered some free studio time because I simply don't have that kind of money. Some of the folks on this page might want to stick a nose up in the air in discuss, but I know most of you here know the routine of money vs. the gear we really want. I will say that for the past 8 years I have been recording on a Yamaha 4 track cassette recorder using a Shure SM57 and the difference with MXL2001P is profound, even if it ain't pro. Yeah, I can hear some of the short comings of the mic and when I have a larger budget I'll spring for a better mic, but now I CAN wait for my budget to be larger because I have the Marshall and the Shure available to do many jobs.

As for worrying about the big companies losing business because of the bargain companies offering "crap"--don't go breaking my heart!! They want the poor man's business then offer a great mic at a cool price. By the way, a $1000 bucks for a Neumann may be quite the deal, but it will be another 10 years before I could afford such a deal, especially when I have to spring another $200 just for the shock mount.

Peace, Jim

[This message has been edited by Jim Marquard (edited 03-30-2000).]
 
Let's consider something less subjective than "sonic quality." Something simple and mechanical that even I can relate to. Hmmmm... how about the shock mounts? Does it reveal anything? Don't know, but it is a study in contrasts.

Bruce Richardson in ProAudio:

Imagine an oil filter wrench, and you get the picture. However, it has a major flaw: once you've closed the clamp, the long clamp-lever tends to fall on the outer circumference of the mount. In other words, you get to twiddle with it every time you've got to move the mic.

Second, the arms that hold the rubberband-like suspension cords do a very poor job of actually keeping the rubberbands in place. Moving or jiggling the mic stand can knock the bands loose, sending the mic crashing to the floor. Not once, but twice in as many days, I saved the first test unit from floor-rash by catching it with my free hand as I moved the stand from place to place. Not good.

Paul White tries out a JOEMEEK product:

The shockmount is a snug fit, and the supplied lead is of good quality.

RECORDING MAGAZINE JUNE 1998 Review by Rick Aurricchio:

The all-metal shockmounts are well-made; they worked flawlessly and stayed put.

--------------

Edgy commentary is always quotable. "He must be on OUR side - he hates the thing."

I'm not suggesting the two 2001's Richardson used didn't have flaws; Marshall's engineer posted a comment comfirming the problems of the earliest version. It is the very model that tortured Richardson for three months and is, according to the guy, now corrected.

Rodent uses the same mount, as does Oktiva and many other brands. It's cheap, it works, and it's cheap.

What does all this say? It says I just had my Starbucks coffee and I'm feeling a little edgy myself!

Lee
 
Hi all,

I am a daily follower of the Prorec discussion board, and just found this one...

I Emailed the reviewer to thank him for a honest review, and asked him what he thought about Rode. He replied that the Rode NT1 (199$$) Is a well built good sounding Mic and he recommends it... So I dont think he has it in for lower priced equipment, maybe this thing just sounds bad.. Well, I have yet to buy my first good Mic..still surviving with a 57 ..but as soon as I get the chance I think the NT1 will be it..


Later...
 
While reading the prorec review I was thinking hey, this sounds like my mike, except that I like the way mine sounds. I recently purchased a CAD C400S from Guitar Center for $199. It looks like the Marshall, has the high pass switch in the same place, costs the same, and, as I later found out, is made in China (like the Marshall?). I tested the C1000, an Oktava in the same price range and the CAD sounded better for MY voice and acoustic guitar. Only after trying to find info/reviews of the mike did I find out that the C400S is made in China for CAD for Guitar Center exclusively. I wonder if the same mike is being sold under several manufacturers names. Oh well, it was only two hundred bucks and it sounds better than my SM57 for vocals and acoustic guitar. There comes a point where my spending on equipment must be controlled - I have kids to feed.
 
Okay... So last night I put the MXL2001P to a practical test. I set the thing up on a wooden deck, with winds gusting 10-20 MPH, and used it for a house concert!

Here is what happened. (And what did not.) The shock mount successfully isolated the mic from floor noise. The wind have very little effect upon it either. The 200 concert goers enjoyed themselves. (Several commented on the "great" sound. Then national touring five-piece bluegrass band (one of which owns a pro recording studio) "liked it very much".

So... I am pretty happy with my little $169.00 investment.

The end.
 
I had the same c400s from guitar center. I thought I sounded good too until I heard a good mic. It all became clear to me. I don't mean to bring anybody down here, but the sound of that mic is awful, it's choked off, sounds like a cardboard box filter to me now. I couldn't sell it fast enough. Thats just my opinion though.

ametth
 
ametth - who did you sell it too? (do they need another/) what did you end up getting as a replacement and how much did it cost?
 
I actully had two of them, and I sold them to a private party. I dont think they want more. I have quite a few mics, so those weren't a loss for me, I bought them about six months ago, used them for a few songs. Heard better mics, buoght better mics. I just recently decieded to sell them, they were just collecting dust in the closet.

ametth
 
I don't want to make a habit of posting from the rec.pro site, but these are the only comments from Marshall in defense of the review. Plus, it clears up the issue of where the 2001 is manufactured.

Lee
--------------------------------------------
MXL is NOT SoundKing. They are a different OEM manufacturer. Avlex is Soundking. We are manufacturing the 2001 at our own factory. The capsule is made by us. The changes made in design of the MXL2001 are mine.

Change the input resistors to 500Mohm and transistor D1 to 2n3819, but reverse the drain and source leads. The noise spec will go down to 11-14. I have made the 2001 better.

ProRec received some of the first ones ever made. They shipped in plain cardboard boxes back then. I have addressed the cold solder and the inconsistent capsules. It is unacceptable. People should not spend their money on bad products. All of those other companies like Rode, AKG, Sennheiser, they are great. Some of the CEO's of other mic companies have even helped me with the MXL mics. They are not being bankrupted.

As for the 2003, the 600 and the V77S tube mic, they are phenomenal.

Brent Casey
MXL Division
QC/R&D
 
I have also had the MXL2001 for a few months and it was my first large condenser mic. I have seen some of the limitations that the pro-rec review - but used with a Art MP it seems to be better than a dynamic - Here is another review that was done by Mix Magazine. The review is not scathing - or raving - just another opinion. http://www.mars-cam.com/mxl/mixonlin.html

Out
 
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