Tom Cram
New member
Here are my impressions from the vocal sessions this weekend. First, dispel any illusions that any of the mics beat the AKG C12. The C12 was the clear winner for all of the vocalists (no suprise). I ended up using the C12 for most of the lead vocal tracks. All the mics sounded good on their own, but in context the C12 just sat in the mix better, it "floated" as I like to say. I lined up the mics four at a time 10" away from the pop filter for both sessions. The singers were positioned 2" away from the pop filter for a total of 12 1/4" distance.
The first batch from left to right was (L) C3000, (LC) C12, (RC) C414, (R) SolidTube. Immediately in both sessions the C3000 was eliminated. It was too "harsh" sounding (but unlike Harvey, I really like this mic on other sources). The 414 sounded good on it's own especially on the male vocalist, but when compared to the SolidTube and the C12, it went too. The second batch was (L) RCA BK11A, (LC) Marshall V67, (RC) Neumann U87, (R) AT 4060. The U87 was eliminated immediately in this batch. I think it was broken. It bottomed out way too early, and distorted way too fast (my fault, I didn't test this mic when I rented it). The RCA sounded great, but it was a little too bottom heavy. I'm sure if I messed with distance I could have reduced the proximity effect but there was not enough time, so it went. The V67 and the 4060 sounded good on their own but the V67 sounded better in context, whereas the 4060 just sounded lifeless in comparison. This left the C12, the SolidTube, and the V67. It should be noted that all the working mics sounded good by themselves, but the winners emerged in context. Also, I ended up running all mics through the dbx 786. I won't go into detail as to why 'cause I'm writing about the mics.
Three mics left that sounded great on all vocalists, what to do? In comparing the 3 the C12 was superior in context in every way. Buttery smooth, silky highs, great detail. I used it on most all leads. I switched off using the V67 and the SolidTube on close mic'd vocals (2" away), both mics sounded great for this use. Both mics have a little more upper mid that counter-balances the added proximity effect. I also liked the V67 and SolidTube for background vocals, their enhanced mids helped the backup vox to poke out without being harsh.
In summary, I feel great about my V67 purchase, I'm going to buy a second. I'm sure it will take some searching to find a similar sounding unit, but it will be worth it. I wish this mic had been around when I first started recording. I also re-discovered what I love about the C12, there is a reason this mic is so sought after (and so expensive!)
I know Ed is going to ask for audio samples, but I don't have time to convert and post. You'll just have to buy the CD's! They will be available in a few months. If you are interested, contact me offline.
p.s. This was obviously a very unscientific test, and Harman owns AKG, so take my comments with a grain of salt. Try your own test
Tom Cram
dbx Senior Technical Support
(801) 568-7530
tcram@dbxpro.com
The first batch from left to right was (L) C3000, (LC) C12, (RC) C414, (R) SolidTube. Immediately in both sessions the C3000 was eliminated. It was too "harsh" sounding (but unlike Harvey, I really like this mic on other sources). The 414 sounded good on it's own especially on the male vocalist, but when compared to the SolidTube and the C12, it went too. The second batch was (L) RCA BK11A, (LC) Marshall V67, (RC) Neumann U87, (R) AT 4060. The U87 was eliminated immediately in this batch. I think it was broken. It bottomed out way too early, and distorted way too fast (my fault, I didn't test this mic when I rented it). The RCA sounded great, but it was a little too bottom heavy. I'm sure if I messed with distance I could have reduced the proximity effect but there was not enough time, so it went. The V67 and the 4060 sounded good on their own but the V67 sounded better in context, whereas the 4060 just sounded lifeless in comparison. This left the C12, the SolidTube, and the V67. It should be noted that all the working mics sounded good by themselves, but the winners emerged in context. Also, I ended up running all mics through the dbx 786. I won't go into detail as to why 'cause I'm writing about the mics.
Three mics left that sounded great on all vocalists, what to do? In comparing the 3 the C12 was superior in context in every way. Buttery smooth, silky highs, great detail. I used it on most all leads. I switched off using the V67 and the SolidTube on close mic'd vocals (2" away), both mics sounded great for this use. Both mics have a little more upper mid that counter-balances the added proximity effect. I also liked the V67 and SolidTube for background vocals, their enhanced mids helped the backup vox to poke out without being harsh.
In summary, I feel great about my V67 purchase, I'm going to buy a second. I'm sure it will take some searching to find a similar sounding unit, but it will be worth it. I wish this mic had been around when I first started recording. I also re-discovered what I love about the C12, there is a reason this mic is so sought after (and so expensive!)
I know Ed is going to ask for audio samples, but I don't have time to convert and post. You'll just have to buy the CD's! They will be available in a few months. If you are interested, contact me offline.
p.s. This was obviously a very unscientific test, and Harman owns AKG, so take my comments with a grain of salt. Try your own test
Tom Cram
dbx Senior Technical Support
(801) 568-7530
tcram@dbxpro.com
