Next Microphone Buy?

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Vagodeoz

Vagodeoz

One-Man-Band
Here is my mic "arsenal", what do you think should be my next purchase?

1 x [url=https://en.audiofanzine.com/dynamic-microphone/shure/sm58/user_reviews/]Shure SM58[/URL]
1 x Shure SM57
3 x Behringer XM8500
2 x Behringer B2-Pro
2 x Behringer C2
2 x Rode NT5
1 x Nady RSM-2
2 x K-Micro (on the way)

I was thinking about getting the Naiant MSH-4 (when it eventually becomes available again), and a bass mike, like the AKG 112 or Shure Beta52. And looooong time after those (when I have saved enough money) an allmighty Neumann TLM-103

Suggestions?

Edit: As for Pre-Amps, now I have an Art Tube MP, and probably after getting the Naiant MSH-4 I will get another pre, probably the M-Audio DMP3
 
Vagodeoz said:
Here is my mic "arsenal", what do you think should be my next purchase?

1 x [url=https://en.audiofanzine.com/dynamic-microphone/shure/sm58/user_reviews/]Shure SM58[/URL]
1 x Shure SM57
3 x Behringer XM8500
2 x Behringer B2-Pro
2 x Behringer C2
2 x Rode NT5
1 x Nady RSM-2
2 x K-Micro (on the way)

I was thinking about getting the Naiant MSH-4 (when it eventually becomes available again), and a bass mike, like the AKG 112 or Shure Beta52. And looooong time after those (when I have saved enough money) an allmighty Neumann TLM-103

Suggestions?

Edit: As for Pre-Amps, now I have an Art Tube MP, and probably after getting the Naiant MSH-4 I will get another pre, probably the M-Audio DMP3
Click to expand...

The TLM 103 really needs a good pre-amp to get the most out of it. If you don't have a big buck mainstream pre, look at the AT 4050. This mic will do everything you want and more and works quite well with the lower end pre-amps.

God Luck
 
I would buy the Neumann in a few years (if I ever do). When that happens I guess I will have a much better pre-amp. By then I will have taken my studio gear to another level.
I'm still completing my entry level studio, the DMP3 and a few mikes more will complete it, those mikes are the ones I'm asking about :)
To be more specific the question would be something like: Do you think there is a microphone that should be in an entry level studio that I don't have? (or at least an equivalent one)
Thanks!
 
What sort of stuff do you record?

If you're on a budget, get a bunch of the Naiant mics of different types, with at least one matched pair - you can do a lot with them.
 
MCI2424 said:
look at the AT 4050. This mic will do everything you want and more and works quite well with the lower end pre-amps.
Click to expand...

Good advice. I have a pair of these and use them LOTS. They are especially good for my acoustic guitar and for someone with a softer male vox.
 
On december they are selling again the Naiants MSH-4, I'm buying one of those, and if I'm satisfied with it I will get a matched pair of MSH-1. By the way... are those balanced? I know there are 2 versions of the MSH-2, and the difference is that one is balanced. Are the MSH-1 and 4 balanced or not?

I record drums, guitars, vocals... Mostly rock/metal stuff. And lately I'm doing some recordings and PA for an orchestra.

As for the AT4050 I have tried it and I find it awesome. But the bigger the buck, the more I have to wait.. and actually I was thinking about the AT3060 instead.

Also I have this friend who is just getting into recording and he is also getting some mikes. We were thinking about each getting a MSH-1 but we would have a matched pair when we use them in stereo. Lately we are becoming analogheads :P. He also wants to buy a nakamichi tape recorder and some "analog" microphones.
Our next purchases so far will be the Naiant MSH-4 (tube mike) and his Nady RSM-5 (ribbon mike).
Do you guys think they are good investments or have any other suggestions for mikes with analog feel/sound and small price?
 
Vagodeoz said:
On december they are selling again the Naiants MSH-4, I'm buying one of those, and if I'm satisfied with it I will get a matched pair of MSH-1. By the way... are those balanced? I know there are 2 versions of the MSH-2, and the difference is that one is balanced. Are the MSH-1 and 4 balanced or not?
Click to expand...

All the MSH mics are balanced with the possible exception of the "plug-in power" mic.

One version of the MSH-2 is transformer-balanced. There are two ways to do balanced output: FET-balanced and transformer-balanced.

A FET-balanced output means that you have two transistors or equivalent, one driving the positive output, one driving the negative (inverted) output.

A transformer-balanced output means that instead of driving the output directly, those FETs (field effect transistors) drive the two ends of the primary coil in a transformer, and the secondary side of the transformer provides the actual output.

Although both of these two techniques basically do the same thing, there are a number of subtle differences in the way they behave:

  • Transformer balancing produces a slight loss in signal, particularly in the high frequencies, and can produce additional ringing in the signal. The amount of degradation depends on the quality of the transformer. This can be thought of as either signal loss or adding character, depending on your attitude. :)
  • FET balancing often produces unequal outputs on the two channels. I think that this causes a slightly diminished ability to reject noise, but I'm not certain of this. Not all FET-balanced designs have this problem, but I've seen a number that do. By contrast, transformer balancing pretty much guarantees this won't happen unless something is wrong with the cable....
  • If memory serves, FET balanced output is less sensitive to difference in input impedance of preamps. By contrast, transformer loading can significantly change the sound of a transformer-balanced microphone. Which one is better depends on intent---using FET balancing reduces the utility of tweaking the input impedance of a high-end preamp to change the sound quality of a mic, but makes the mic's performance more consistent if you have to use it in different environments.
  • Transformer balancing can be sensitive to damage due to miswired or shorted cables. If you feed +48VDC to one side of a transformer-balanced mic and ground the other side, unless there is a blocking capacitor on both ends of the transformer, you could magnetize your transformer, in which case it won't ever sound the same. With FET balancing, the FET will always be protected with a capacitor, so you shouldn't ever hurt anything (and might be able to take 48VDC on the output anyway).

I'm sure MsHilarious will correct a dozen things in this post, but I figure it's worth being wrong to get a discussion started. :D
 
Now Since I got The At2020 I tend to cop that At4040 and the shure 58 should be found in all studios.....
 
I was planning on buying the M-Audio DMP3 as a pre-amp, which is about 170$. But my friend (the other analoghead) gave me this option. Which one do you think I should get? I dont' have the money, but I will. However saving for the DMP3 will take me let's say 2 months, for the other one will take me 4. Also there is a dealer of M-Audio here in Bolivia. If I get the Art one, I would have to order from USA and have it shipped here, I guess that would be an extra 70-100 $. But do you think it's worth it?
M-Audio DMP3 for 170$ or Art MPA Gold for 380$? Or any other option in between?

Edit: I almost forgot. Thanks a shitload dgatwood!! Very interesting post!
 
You already have a bunch of cheap mics; don't buy any more mics unless they will remain with you in the future. Since you're recording metal/rock I'd get a D112 for kick first, then SM7 for vocals. Both mics are within any studio budget and you'll likely keep them throughout.

You've got decent OH's already. A bunch of 57's or 58's to cover amps and toms would cover recording an entire rock band live.

Next I'd look at preamps.
 
Vagodeoz said:
I was planning on buying the M-Audio DMP3 as a pre-amp, which is about 170$. But my friend (the other analoghead) gave me this option. Which one do you think I should get? I dont' have the money, but I will. However saving for the DMP3 will take me let's say 2 months, for the other one will take me 4. Also there is a dealer of M-Audio here in Bolivia. If I get the Art one, I would have to order from USA and have it shipped here, I guess that would be an extra 70-100 $. But do you think it's worth it?
M-Audio DMP3 for 170$ or Art MPA Gold for 380$? Or any other option in between?

Edit: I almost forgot. Thanks a shitload dgatwood!! Very interesting post!
Click to expand...

I would personally stick with the DMP3. I haven't tried the ART MPA but have the DMP3. It is a great mic pre. Different mics would make a much bigger difference to your sound than the ART MPA! I have the DMP3 and Tampa by M-Audio and am not looking to upgrade my pres for a long time! If I were it would have to be something really special. Any spare money I have will be going towards mics not pres!
 
I've got the DMP3 and the ART Digital MPA Gold, don't have a ton of experience with them, but I can say that after I replaced the tubes in the ART unit, it sounds good, and the variable impedance thing does change the sound a lot for some of my mics. I got the ART unit in anticipation of the group-buy microphones (still waiting, anticipation is killing me :o ) so that I could try it with the ribbons I ordered. It *seems* like the ART has a little more gain than the DMP3, too, but I haven't confirmed that.

If, though, you're always recording metal stuff, I don't imagine that tweaking the impedance is going to make that big of a difference, and the DMP3 certainly works well, and if everything's loud, you won't need as much gain ;)

Rats - when I saw your question, I thought my response would be more helpful than this, but that's what this owner of both units has to say at this point. Ask me again in a year :)
 
looks like you are getting a lot of great suggestions here. One that I would throw into the mix is the RE-20. I really like it on bass cabs. When recording in the studio it was always the go to mic for kick also. I have not used mine on kick, but it is a fan fav. I have also used mine on Trombone and male vocals. The RE-20 is a real winner.

I also like the SM7 quite a bit for male vocals.
 
Yeah, it seems to be a great mike, but I don't think they are being made anymore, right?
Anyway, they are way over budget.
I would have to save a lot to get an AKG 112, so this one is a little dreaming for now, but it's surely going to my wish list with the Neumann.

Thanks antichef, you were really helpful, I think I'll just stick with the DMP3. It's not a tube pre-amp, but at least I have the Art Tube MP.
Btw, does the DMP3 works well with ribbons?
Also the SM7 is a little pricy, but I'm not sure about it's uses. What would I use it for? vocals only? For vocals I have SM57, SM58, Behringer B2-Pro and Nady RSM-2. At least one of them should give a good sound with most singers. But if I were to spend 320$ on a vocal mic, I would probably just hold them until I have enough for a Neumann, or get an AT3060
 
CRAP!!!!!!

Q. What happened to the MSH-4?

A. As of November 2007, the MSH-4 has been retired. Service is still available for the MSH-4 and will continue through the warranty term. No, I will not make you an MSH-4 even if you ask really nicely, but you can build your own if you like.
Click to expand...

:(:(:(:(:(
 
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