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I saw comments on this a year ago, but didn't need the info then. (Did a search -- and nada). I seem to remember Harvey saying a small condensor (MXL603?) around the bridge area? He's got a pickup, so I'll throw that through a bass sansamp, too.

They double-tracked a lot of their lead vocals -- and were very good at maching their own voice while singing it the second time.

Thanks, fellas. So, I reckon chaining two pres together is not a good option, the key word being "good"?

I'm getting an SM7B, and, from past threads, I take it you need a better-than-average-homerecording pre. I've got a Meek VCQ3 and VTB1, plus the pres on an MBox. The two pres I have do, as anyone who has them knows, get up to 60 on the input gain. If it's not enough for soft vocals, or even...

I've got a C1. I like it. But I've read so much about the SM7 (or SM7B), that I was wondering if anyone who had both would give me their opinions on the differences -- specifically on recording vocals, pros and cons, etc. Bodhisan

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3707583416&category=41466&sspagename=STRK%3AMEBWN%3AIT&rd=1 They're not the most beautiful, but I bought one two years ago for my C1, since their shockmounts (PMI's), at the time, were unreliable. Your mic can't be any more secure than in this...

Thanks, John. My main concern is that I don't bugger up the preamp XLR inputs from the constant plugging and unplugging. I'm sure they're made for it, though. Bodhisan

Life used to be simple. One mic, one preamp. Then two mics, two preamps. Now I have several mics, but still two preamps....I don't think I need any more preamps. Should I just plug and unplug from the preamps as I use different mics, or should I use a mixer or patch bay? Obviously, I know...

Jonnyfive -- my, my. I love it!!!! I'm totally new at recording drums, and just got a new (well, it's a 60's Japanese-made "Crest") kick drum for my little studio. Didn't know what to do about the hole, and when I saw your post, I thought you were serious, but then...you could have been...

Han, Thanks -- but it's the inferior, cheaper, lesser known 411, not the 441. From a picture I saw, it's presented as a "studio voiceover mic" from the 60's/70's. But I was hoping someone might think it's still "wantable." Bodhisan

Anyone know anything about this mic?

I've gotten great results going direct from a 15" Peavey amp. But isn't going direct the same as using a Sansamp..and maybe even with more flexibility/variety? Bodhisan

Okay...I found the past threads...ignore this one...

Sorry, guys and gals, I'm sure this has been covered, but I tried doing a search and couldn't pull up diddly. Is the only difference between these two mikes the extra patterns in the T3? Thanks. Bodhisan

Yeah (and I hate to skip by the REAL subject, but) the threads on my B3 clips are tooooo big. I like the plumbers tape idea...thanks.

My MXL 603's bought at the same time match. But guess what? Nobody cares but us... The listener doesn't give a shit or a rat's ass. I was listening to Townsend and Lane's Rough Mix from 1976/77, and it's really nice to listen to with headphones. Lots of nice panning. Some stereo stuff...

I'll soon be getting one. I'm buying it because of what some of you have said about it having that "air" reverb feel to it. That "pro" studio sound. Is this a particular setting on one of the presets that is best to work with on this slight reverb? Any other tips for this piece? Thanks...

I have two B3s and am getting my money's worth, that's for sure. I must say, though, that I recently got two MXL603 mics, and they capture my acoustic instruments more accurately than the B3.

Thanks, Harvey. I've noticed from pictures on ebay that some of the mics are enscribed MXL603, and some are enscribed MXL603S -- on the shells of the mics.

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