New mic Under $1000

C

c9-2001

New member
hey yall. lets see if yall can help me a little bit..
i have a tlm193 right now with a valley audio 401 mic processor..its sounds great, but i'm looking for an extra mic.. the 193 is very smooth, buts its not working for all my artist(which i just found out after a session last night)
for female singers, its great... for most rappers its great to.. but for my rappers with deep voices..:( its just not the cleanest sounding...
i really want the budget under $700 to tell the truth but i'll go as high as $1000 seeing that its not my money...

i've been looking at:most of the mics i've never used
Studio projects T3
Rode NTK and NTV
Groove Tube MD-2
ADK A51 TC(i really like how it sounded when i used it with a d8b)
S.E. Electronic z5600 (i know i know, but i've heard this mic and its nice
CAD M9
AKG solidtube(i've never really been fond of them)
 
Oh ya and check out the Marshall V69{I'm lovein' this mic on elec. guitar} and the V77 tubes..for short cash they really pretty cool..I think they go for about 300.00 apeice..not as "good" as the AT4060..but still pretty dam close at a third their price...good luck


Don
 
My suggestions

Condenser
--------------

Studio Projects C-1
MXL V-69
CAD M-9
Blue Dragonfly

Dynamic
--------------

EV RE20
Sennheiser 441
Shure SM7
Beyer M88

If I were you I would go with the Sennheiser 441

Beez
 
Sennheiser MD421 into a kick ass preamp, like the Great River NV. You would be very suprised at what the right preamp can do for a low output dynamic microphone. Even the FMR RNP will help a dynamic. A dynamic microphone loves a higher impedance (1200 ohms or above) input, and high levels of available output gain (60 db or above). It will more often than not sound as good or better than a under $1000 condenser through a mediocre preamp.

Nathan Eldred
atlasproaudio.com
 
Would you like fries with that...

How about a combo?

SM7 or MD421 - Nice dynamic, your choice at - $299 (good on other sources too)
and
NTK - Nice tube condensor - $400
$700 total

SM7 or MD421 - $299
and
Studio Projects T3 - $499
$800 total

SM7 or MD421 - $299
and
Studio Projects C1 - $229
$528 total

Should cover some bases that are missed with the 193, and fall within budget. I do have to say I haven't used all of these mics, but I have heard some really nice stuff done with them. I can't really speak for more expensive mics, 'cause I don't have any experience with'em at all. I just wish I had enough cash for an NTK!

Steve
 
thanks for yoor help help..
like i stated its for hiphop and R&B production..

i really don't need a dynamic right now but if anything i'd add a sm7 to my mics.

right now i'm leaning toward the ADK A51TC or the SP T3.. for the simple fact i've used them and i like the quality they render..plus the T3 is a multi patteren mic and i might need one soon..

as for the AT4060.yes i really like that mic for all my vocalist, but its a little more money.. i can get a used one around $899-950 though i know b/c i got offered one before..
the Marshall V69 and V77.. i've used the v69 onces and it worked well.. but it was a little muddy.
and the c1, i like it.. its a nice mic but to bright..
 
atlas said:
A dynamic microphone loves a higher impedance (1200 ohms or above)
Click to expand...

That's interesting. I've always thought it was exactly the opposite.

For a dynamic, you should really be looking for the lowest impedence pre you can get your hands on.

Otherwise, you'll be preserving a lot of the high end, for sure, but it will sound strange.
 
I don't think you always want the lowest input impedance for a dynamic.

Generally speaking, you want around 10x input impedance vs. mic output Z to minimize voltage loading. An SM58 has an output impedance of 150 ohm or so, which goes with 1.2K input impedance.

Once you start loading down the dynamic element, you will change the response but will also lose output. Not a bad thing, and might be cool too. But you will have to make up that gain.

Some dynamics (i.e. ribbon) are designed to work into a specific load Z to provide a specific response. I've experimented with an Oktava ML-52, and it's suprising the differences in tone you get with different loading.
 
c9-2001 said:
i really don't need a dynamic right now but if anything i'd add a sm7 to my mics.
Click to expand...
You might be surprised. They're both LARGE diaphragm dynamics, and sound much different than the everyday SM 58/57.

You should really try to test one out before you buy. The SM7 is a staple in the hip/hop world, especially for rappers
 
chessrock said:
That's interesting. I've always thought it was exactly the opposite.

For a dynamic, you should really be looking for the lowest impedence pre you can get your hands on.

Otherwise, you'll be preserving a lot of the high end, for sure, but it will sound strange.
Click to expand...

Is that what someone's theory says, or what your ears tell you? If it's what your ears tell you then I respect that completely and that's totally your subjective call. All I know is that when I run a sm-57 or 421 through an NV on 1200 (vs 300), or through an RNP (which I think is about 5000 ohms), or a Vipre on 1200 or 2400 ohms, they open up, and sound as if their able to capture transients more accurately. When the lower impedances are used, yes they are louder, but they sound stiff and more distorted to my ears. Often (usually) at lower impedances, I have found that dynamics are harder to fit into the mix than with a higher impedance. Of course this is not a rule, just a general observation. I'm sure there are going to be times when a lower impedance is going to be just the ticket for a dynamic, but I've noticed and generally prefer the opposite.

Nathan Eldred
atlasproaudio.com
 
I guess what I'm getting at is that at lower impedences, they respond much closer to how they were designed to respond. Not necessarily better or worse.

By using a higher impedence, you're basically imparting an EQ curve that will have the effect of boosting / extending the highs and/or rolling off the lows in a subtle way.

I agree with you that, at times, a little extra high end is a good thing, and I'll often wind up doing it anyway when it comes time to EQ at mixdown . . . but at the same time on a lot of sources it just doesn't sound quite natural. Sometimes, if an SM7 sees too small of a load, it will start to sound sibilant . . . and that's generally not a trait I would associate with an sm7. :D Usually, I'll grab an SM7 specifically to avoid that sort of thing.

I guess I just want a dynamic to sound like a dynamic. I'll use a condenser if I want more detail, faster response, extended high, end, etc.
 
Chrisjob said:
You might be surprised. They're both LARGE diaphragm dynamics, and sound much different than the everyday SM 58/57.

You should really try to test one out before you buy. The SM7 is a staple in the hip/hop world, especially for rappers
Click to expand...
i have used the sm7, thats why i said it would be the only dynamic i'd add right now.though i like the sound of my tlm193...
looks like i'ma get the adk b/c i have a friend that has one that he'll sell me on the low and make it part of my birthday present at the same time.. so i'l pay like $180-200 for the mic.. its been used for 3 sessions.. so the ADK A51TC it is..
 
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