Favorite Mics?
- Thread starter kimber
- Start date
Flagg Audio
New member
1. Shure, Heil, AKG
2. How it sits in a mix (live or otherwise), durability, diverse applications, cool factor
2. How it sits in a mix (live or otherwise), durability, diverse applications, cool factor
guitaristic
prophet of Dave
1) Neumann, AKG, and Shure
2) I look for the flattest frequency response, multiple polar patterns, durability, and looks
2) I look for the flattest frequency response, multiple polar patterns, durability, and looks
Yes I own a PA touring company and a studio. An answer for both.
ahhh i see. cool. thanks a lot!
hmm i see. so what do u think AT is the best at?
Bobbsy
Boring Old Git
Hmmmm...too many different answers.
Theatre sound hat on: Senneheiser, DPA, Countryman (for hairline mics and headsets). Add Crown and AKG for float mics.
TV location sound hat on: Sennheiser, Sony, maybe Tram
Concert sound: Audix, AKG, Sennheiser
In my studio: Neumann, AKG, sE
If I had to pick just three for everything, I'd have a case of AKG C451EBs (directional and sensitive enough for distant miking onstage, on a boom for location sound and not half bad up close for vocals and instruments in the studio, great for drum overheads and fine on snares, toms etc especially with swivels etc. I'd add a pile of Sennheiser MKE2s for clip ons in a TV/Film studio, hairline on stage and even on a homemade heaset for wherever you need one. And finally I'd add some Audix OM6s as an all purpose vocal dynamic, useful for lots of other things in live sound situations and even okay for vocals in a studio or maybe voice work.
So...took me long enough to get there but: AKG, Sennheiser, Audix.
Theatre sound hat on: Senneheiser, DPA, Countryman (for hairline mics and headsets). Add Crown and AKG for float mics.
TV location sound hat on: Sennheiser, Sony, maybe Tram
Concert sound: Audix, AKG, Sennheiser
In my studio: Neumann, AKG, sE
If I had to pick just three for everything, I'd have a case of AKG C451EBs (directional and sensitive enough for distant miking onstage, on a boom for location sound and not half bad up close for vocals and instruments in the studio, great for drum overheads and fine on snares, toms etc especially with swivels etc. I'd add a pile of Sennheiser MKE2s for clip ons in a TV/Film studio, hairline on stage and even on a homemade heaset for wherever you need one. And finally I'd add some Audix OM6s as an all purpose vocal dynamic, useful for lots of other things in live sound situations and even okay for vocals in a studio or maybe voice work.
So...took me long enough to get there but: AKG, Sennheiser, Audix.
grimtraveller
If only for a moment.....
He's also renowned for indecision.Richard Monroe
Well-known member
In order to get an answer that makes sense, you have to ask a question that makes sense. Suppose instead of microphones, we substituted cars. So I say I like Chevy. Just how similar are a stripped down Cobalt and a custom Corvette? There are the cars *I like*, and the ones I can really own. I *like* the Dodge Viper, but *own* a Neon. So I break down and buy the Viper. You know, it's not very good at pulling stumps, so I guess I'll go back to my old Ford F-150 pickup, or better yet, a tractor. The tractor gets a lot of attention at road rallies.
You can't choose a tool without defining the job, and mics are tools. The features I look for in a mic are the following:
1. It does some job pretty well.
2. It can do more than one job.
3. It is respected in the industry, meaning it is used in lots of studios. This means it will be easier to sell if it doesn't work out for me, or I want to upgrade.
4. It is made by a manufacturer who will give me good customer support if I need it.
5. It delivers good performance (meaning it does its job well) relative to its price. This is the definition of *value*. There are good cheap mics, good mid-priced mics, and good expensive mics. Some environments are more dangerous for mics. In some places, a cheap mic is better risk management. I don't use Neumanns in drunken biker bars. And for some jobs, a cheap mic is the right mic.
So when it comes down to it, the make of the mic matters a lot less than the model, and the price has to be comparable to its performance. Audio-Technica for instance- The AT20XX series are made in China, and I believe there are better mics available by some other manufacturers, such as Rode, B.L.U.E., and SE. The AT40XX series are made in Japan, tend to have better quality control than the 20XX series, and compare very well to similarly priced competitors.
AKG makes some pretty good cheap mics (D5, C2000B, the Perception series) and some excellent mid-priced mics (C451, C414 series). They also make some cheap mics that are not so good (D880, C1000S, C3000B) when compared to similar mics by other manufacturers. Their flagship mic, the C12, while OK, doesn't compare that well to mics that can be had for the same or lesser amounts of money from a host of boutique manufacturers. It's a pretty good mic, but a bad value. In that price range, I'd be looking at B.L.U.E., Microtech Gefell, Lawson, Brauner, and even Neumann.
Neumann is a very good example of a company that builds some pretty good mics, but they are a very respected name, and you have to pay a certain percentage of the price because it has a little diamond on it that says "Neumann". It may not win on bang for buck up front, but does well on resale value.
In the end, my choice, like that of most studio owners, is some cheap mics that work well for the price, some mid-priced mics that are versatile, and a very few high end mics that are used frequently.
All I can do is list some standouts, and the jobs I use them for:
1. Favorite cheap mics- Shure SM57 (guitar cabs, percussion), AKG D770 (the same as SM57), AKG D3800 tripower (live piano, harp, and vocals), AKG D112 (standup Bass, Djembe, kick drum, anything low frequency). Oktava MK319 (studio vocals, especially female), Oktava MC012 (stringed instruments, mandolin, violin, cello, drum overheads),B.L.U.E. Bluebird (acoustic instruments and voiceovers), AKG C2000B (vocals and more delicate instruments, clean guitar cabs- a real winner on versatility). MXL V67 (vocals, especially male tenors).
2. Favorite mid-priced mics: B.L.U.E. Baby bottle (vocals, acoustic instruments) Shure SM7 (vocals, percussion). AKG C414B-ULS (A few vocalists, but a real winner on acoustic instruments, drum overheads), Neumann KM184 (overheads, delicate instruments, anywhere where I want high frequency detail).
3. Favorite high end mics: B.L.U.E. Kiwi (my vocals), Neumann U87 (vocals, acoustic instruments). AT4060 (vocals)
Regarding mics,especially high end models, I can only tell you about the mics I know and use. There are a ton of mics to die for that I would love to use, but I can't afford them currently. Please send me a box full of DPA, Schoeps, Brauner, Lawson, Microtech Gefell, Josephson, and others, and I'll happily tell you what they're good for.-Richie
You can't choose a tool without defining the job, and mics are tools. The features I look for in a mic are the following:
1. It does some job pretty well.
2. It can do more than one job.
3. It is respected in the industry, meaning it is used in lots of studios. This means it will be easier to sell if it doesn't work out for me, or I want to upgrade.
4. It is made by a manufacturer who will give me good customer support if I need it.
5. It delivers good performance (meaning it does its job well) relative to its price. This is the definition of *value*. There are good cheap mics, good mid-priced mics, and good expensive mics. Some environments are more dangerous for mics. In some places, a cheap mic is better risk management. I don't use Neumanns in drunken biker bars. And for some jobs, a cheap mic is the right mic.
So when it comes down to it, the make of the mic matters a lot less than the model, and the price has to be comparable to its performance. Audio-Technica for instance- The AT20XX series are made in China, and I believe there are better mics available by some other manufacturers, such as Rode, B.L.U.E., and SE. The AT40XX series are made in Japan, tend to have better quality control than the 20XX series, and compare very well to similarly priced competitors.
AKG makes some pretty good cheap mics (D5, C2000B, the Perception series) and some excellent mid-priced mics (C451, C414 series). They also make some cheap mics that are not so good (D880, C1000S, C3000B) when compared to similar mics by other manufacturers. Their flagship mic, the C12, while OK, doesn't compare that well to mics that can be had for the same or lesser amounts of money from a host of boutique manufacturers. It's a pretty good mic, but a bad value. In that price range, I'd be looking at B.L.U.E., Microtech Gefell, Lawson, Brauner, and even Neumann.
Neumann is a very good example of a company that builds some pretty good mics, but they are a very respected name, and you have to pay a certain percentage of the price because it has a little diamond on it that says "Neumann". It may not win on bang for buck up front, but does well on resale value.
In the end, my choice, like that of most studio owners, is some cheap mics that work well for the price, some mid-priced mics that are versatile, and a very few high end mics that are used frequently.
All I can do is list some standouts, and the jobs I use them for:
1. Favorite cheap mics- Shure SM57 (guitar cabs, percussion), AKG D770 (the same as SM57), AKG D3800 tripower (live piano, harp, and vocals), AKG D112 (standup Bass, Djembe, kick drum, anything low frequency). Oktava MK319 (studio vocals, especially female), Oktava MC012 (stringed instruments, mandolin, violin, cello, drum overheads),B.L.U.E. Bluebird (acoustic instruments and voiceovers), AKG C2000B (vocals and more delicate instruments, clean guitar cabs- a real winner on versatility). MXL V67 (vocals, especially male tenors).
2. Favorite mid-priced mics: B.L.U.E. Baby bottle (vocals, acoustic instruments) Shure SM7 (vocals, percussion). AKG C414B-ULS (A few vocalists, but a real winner on acoustic instruments, drum overheads), Neumann KM184 (overheads, delicate instruments, anywhere where I want high frequency detail).
3. Favorite high end mics: B.L.U.E. Kiwi (my vocals), Neumann U87 (vocals, acoustic instruments). AT4060 (vocals)
Regarding mics,especially high end models, I can only tell you about the mics I know and use. There are a ton of mics to die for that I would love to use, but I can't afford them currently. Please send me a box full of DPA, Schoeps, Brauner, Lawson, Microtech Gefell, Josephson, and others, and I'll happily tell you what they're good for.-Richie
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Steenamaroo
...
I do that, as long as you agree to sing "Hoooo Haaaaa, Absolutely nothing!" if applicable.
chuckduffy
Well-known member
For home studio use I think it's a good idea to pick up stuff that is 'multi-purpose'. I also prefer durable, time-tested stuff over any 'mic of the week'. I think it's important that you try any microphone that will be used on your voice. For vocals I tend to pick the mic that requires the least futzing around with eq, etc.
AT4033 - Great all around condensor mic - not exactly a LDC but not a SDC. Fixed pattern with bass roll-off and pad. I've used this for vocals, acoustic and micing a small Ampeg guitar amp with great results. Around $400 new, $200 or less used. The AT4050 is a great step up from this mic.
SM57 - Great inexpensive dynamic. Used this on snare, guitar and bass amps and very occasionally vocals with good success.
SM7B - Really works well on my voice - but this is one of those gotta try it mics. Great for screamers. Also works well on guitar and bass amps. Awesome voice/narration mic. Needs quite a bit of gain. Rejects room noise well. You can eat this thing without fear if you want to mine the proximity effect for more chest.
KM184 SDC - SDC pencil type mic. Great for acoustic and piano. If you are careful, and it fits your voice it can be used on vocals with really good effect.
RODE NT4 - Stereo SDC - I really like this mic, though it doesn't get a lot of play, and you can probably get a less expensive more flexible setup from a matched pair of SDCs and mounting rig. Anyway - it's a pair of SDC capsules permanently mounted in an X/Y stereo config. It's pretty much set it and forget it in a good environment. Basically mounted on a boom, walk it around for best position and forget it. Sounds great on live acoustic groups, choral music, etc..
AT4033 - Great all around condensor mic - not exactly a LDC but not a SDC. Fixed pattern with bass roll-off and pad. I've used this for vocals, acoustic and micing a small Ampeg guitar amp with great results. Around $400 new, $200 or less used. The AT4050 is a great step up from this mic.
SM57 - Great inexpensive dynamic. Used this on snare, guitar and bass amps and very occasionally vocals with good success.
SM7B - Really works well on my voice - but this is one of those gotta try it mics. Great for screamers. Also works well on guitar and bass amps. Awesome voice/narration mic. Needs quite a bit of gain. Rejects room noise well. You can eat this thing without fear if you want to mine the proximity effect for more chest.
KM184 SDC - SDC pencil type mic. Great for acoustic and piano. If you are careful, and it fits your voice it can be used on vocals with really good effect.
RODE NT4 - Stereo SDC - I really like this mic, though it doesn't get a lot of play, and you can probably get a less expensive more flexible setup from a matched pair of SDCs and mounting rig. Anyway - it's a pair of SDC capsules permanently mounted in an X/Y stereo config. It's pretty much set it and forget it in a good environment. Basically mounted on a boom, walk it around for best position and forget it. Sounds great on live acoustic groups, choral music, etc..
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chuckduffy
Well-known member
MXL - get two
Richard Monroe
Well-known member
For that box, I'd sing Hoooo Haaa in the nude on Youtube.