10 Must have mics?

  • Thread starter Thread starter fiveironguy
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Yo 5iron! Well, $5,000-$7,000 can be spent a lot of ways. I see mics in 4 categories. The ones that will get you by, the ones that are really pretty good in spite of the fact that they are cheap, the ones that do more than just get you by, and the ones that are to die for. You have to decide on which categories you want to spend that money. It sounds like you're tired of mics that just get you by, and if you've been doing your homework, you already have some that are ok in spite of being cheap- so let's consider categories 3 and 4.
Ribbons- My knowledge is very limited, although the AEA's, Coles, and Royers seem to get high marks. A pair of good ribbons in the $1000 range each might not be a bad place to start. A top of the line ribbon such as an AEA R44C or CX would suck up almost all of your budget alone.
Small diaphragm condensers- I guess you already have category 3 mics (SM81)
Pretty damn good- Josephson C42, Neumann KM184.
To die for- Schoeps CMC64.

Dynamics- cool, because you can buy really great ones for the cost of a medium quality condenser. Consider Sennheiser MD441, EV RE20, and Shure SM7B. Many people swear by the higher end Beyerdynamics, but I have never gotten to use them.

Main vocal condensers (usable for lots of stuff, but they just make you think of vocals)
Solid State - Soundelux U95, Microtech Gefell M930, B.L.U.E. Kiwi
Tube mics- there are many, but I like Lawson L47 MKII, Brauner Valvet/voice valvet, Neuman U47/U67, B.L.U.E. Cactus, and Soundelux U99. I like the Lawson and the Soundelux in the big bang for buck category.
To die for-B.L.U.E. Bottle with all the capsules- also way out of budget.

Studio Workhorses- These are multipattern marvels that you use for almost anything, but especially acoustic instruments. Some vocalists use them also.
Pretty damn useful- AKG C414, Shure KSM44
To die for- Soundelux ifet7. Some people love Neumann U87 for this, some people hate them- it's a personal decision, but the analog guys seem to like them better than the digital guys.

If I were going to spend your dough, I'd probably buy about 5 mics-

ifet7- $2100
Lawson L47MP MKII- $2000
(2) Royer R-121 - $2400
Electrovoice RE20- $400

There's $7,000 exactly. If you cant record it with those mics, you can't record it.
Or- you can skip the ribbons, and grab a pair of Schoeps CMC64'2 with MK4 capsules, about $2700 the pair. They are to die for, the best acoustic guitar mics I have ever used. God I wish I owned them. Best of luck. My advice, basically, is to spend the money on mics you will never, never, replace.-Richie
 
I think the minimum mic collection should consist of a decent large diaphragm condenser, a pair of small diaphragm condensers and a low frequency mic.

I think the bang for the buck choice for this probably would be the Audio-Technica AT4047, the Avenson STO-2 pair, and an Audio-Technica ATM25. That's around $1,200 but that's a decent mic locker. A cheaper version would be the AT4040, Oktava MK012 pair and ATM25.

Soundelux makes incredible mics (and BTW I got to chat with Dave Bock of Soundelux at AES and he knows music). I'd also suggest looking at Brauner and Microtech-Gefell. You could pick some excellent mics from these makers to put in the AT4047 slot if you've got more budget.

On the small diaphragm condenser pair you probably could not do better than something by Schoeps.

I'd still keep the ATM25 in its slot regardless of budget.

Once you got that initial collection down then you might think about a ribbon mic or two. The Royer R-121 is probably the industry standard on guitar cabs. I think the AEA R84 is the best sax mic on the planet.

I love dynamic mics. Beyerdynamic, Shure and Electro Voice make some great mics that sound wonderful when routed through quality recording channels.

You could look at some esoteric mics such as the Bova Ball or the Copperphone.
 
Some good recommendations.

I've always been a believer that you need at least a few different types of vocal condenser mics; One with the classic midrange scoop (C-12 style) and sizzle on the top ... and one that is either flat, or perhaps a bit aggressive in the midrange.

Mics that fall in to the former category would include most of the Chinese variety by SE, ADK, Studio Projects, etc. Blue Dragonfly, Soundeluxe and most of the Rode LDC's. Ones that would fall in to the latter would be the Shure and Audio Technica condensers; KSM-44, AT4050/4047/4060, etc.

After that, I think you need at least one top-flight dynamic. Sehnheiser MD441, Shure SM-7, RE-20, M-88, etc. And a bunch of second-tier dynamics to round things out; think Beyer M-69, SM-57s, and/or a bunch of older Electrovoice mics like the RE-15 or 16.

For instruments, I think you should have at least two pair of small diaphragm condensers; one set of brighter ones and one set of flatter ones. For bright, think along the lines of AKG 451 or Neumann KM184s. For flatter, think Schoeps so long as you can afford it. :D Some reference-type omnis like the Avensons, Earthworks, or THE are extremely useful. On the budget side, think Audix TR-40, Behringer ECM8000, or Oktava MC012 for flat ... Marshall mxl603 or 990 for bright.

As for specialty mics, you should also have at least one really dark mic with a rolled-off high end that you can use on certain occasions. I have an Oktava MK319 that fits that bill rather well. And the Groove Tubes GT44, whilve being an exceptionally good mic, is somewhat rolled off on the top and tends to be very smooth on sharp transients. Ribbon mics are perfect for this. Think AEA, Coles or Royer if you can afford it ... or used Beyerdynamics with a smaller budget.

You also might want to have one really bright mic that doesn't have much proximity effect, and use that for other occasions that the need may arise. Some of the cheaper mics are actually pretty good for this sort of thing. I can't say enough good things about the Marshall mxl 990 for this kind of task. Some of the less expensive AKG mics can be very bright -- sometimes too much so, but keep in mind this is only for unique situations. On the slightly higher end, think Blue Berry or Neumann TLM-103.

Finally, I think it's imperative to have at least one -- a pair if you have the budget -- of something with multiple patterns. AKG 414 ... AT4050 ... or CAD M179 on the lower end.

Using these guidelines, you should be able to put something together that will prepare you for most situations that can be thrown at you. In my opinion, the place where you have the greatest chance of uncovering some big-time values are in the small diaphragm condensers. I'm not convinced that the difference between an Audix TR-40 and the highest end Earthworks or THE is going to be that striking of a difference. Similarly, I believe some of the sounds you'll hear coming out of the ultra-cheap mxl-603 won't make you miss your AKG 451's that bad. Something like a Schoeps is another story, but then again it is a Schoeps. :D
 
I am curious why the R84 gets mentioned, but not the R92. I had a chance to try both of these mics & on acoustic guitar & harp I liked the R92 more as it had better high end representation. One mistake I made while recording was not trying the back side of the R84 which apparently has a better high end response. Is it the wind instruments that the R84 is preferred over the R92?

One other mic for the cabinet is the Blue Blueberry, colored, but it works very well both as a vocal mic & string instrument mic IMHO. These can be picked up on ebay used in the $600 range
 
garf said:
I am curious why the R84 gets mentioned, but not the R92. I had a chance to try both of these mics & on acoustic guitar & harp I liked the R92 more as it had better high end representation. One mistake I made while recording was not trying the back side of the R84 which apparently has a better high end response. Is it the wind instruments that the R84 is preferred over the R92?

One other mic for the cabinet is the Blue Blueberry, colored, but it works very well both as a vocal mic & string instrument mic IMHO. These can be picked up on ebay used in the $600 range
Click to expand...

I think on the R84 versus R92 it's more that the R84 has been around a bit longer so people sort of know it's sound.
 
I own the klm 184's and they really don't compare to my Schoeps cmc64's.Beautiful on acoustic anything.

I also have the AT4060 and have auditioned the Brauner VM1(~$4500) and others and find the SE Gemini is the vocal mic with the best clarity and presence--all others are almost overly warm especially in a small room "studio"


So, the Schoeps and the SE Gemini are my recomendations.
 
So what's the verdict fiveiron? Made your decisions yet? What does your mic locker look like now and what do you want it to look like soon?

Jacob
 
havent bought anything yet.. but have been scouting out my options.. i think im gonna upgrade my interface from a motu 896 to an rme fireface first... then preamps.. then compressors .. then mics. i would appreicate recommendations for preamps and compressors.. looking to spend about 10 grand on preamps and compressors .. i dont need a whole lot as i track everything seperate.. but enough to decently mic a drum set set good preamps and compressors.. any suggestions?
 
I don't have the budget to do it, but I've had it recommended to me that the first set of pres you need is a GOOD set of workhorse pres - at least 8-10 of them. At my budget that means an octopre LE or an Octane. At your budget I have no idea what to recommend - but IMHO you should get a good set of 8 pres. Then on top of that you start to specialize. A good dual pre or 2 - for me and my budget means a DBX 386, a RNP and a DMP3, for you it might mean a UA, John Hardy or Neve or something. Get some single pre strips with good eqs and comps built in - For me it's a Tampa and an Envoice, for you it's a Focusrite ISA or Avalon.

For compressors I don't know to much. In my budget I'm told the best bang for buck is the FMR RNC. Apparantly there so good that you'll hear of them being used on Nickleback albums, and Staind albums and... they get great reviews around here. I want a pair of them racked together...I hear high end stuff will include Distressors. ADL and Chandler make good ones from what I've been told (no experience is what you should read)

As for mics - lot of guys have covered this stuff. I like having a lot of mics because it gives a lot of variety. Get cheap and good, and get expensive and invaluable too. 57's MD421's, Oktava MK012's and Pelusos, Good AT's like the 4050 and 4040. I like the Rode NTK, and my experience with BLUE and Soundelux mics, while minimal, makes me want them REAL bad.

I like talking about this kind of stuff. I also like hearing what other people plan on upgrading, cause I like dreaming I had the budget to do it too!!

Jacob
 
Hmm...

With my limited experience, I'm sticking to a limited budget.

Here's what I would need for a studio:

(2) Shure SM57's - $200 - Must have for electric guitar or a darker snare sound. I don't like them on anything else.

(1) Audix D6 - $200 - For metal, rock, and pop kick drums.

(4) Sennheiser MD421's - $1200 - You NEED them for toms. They sound great for a more "natural" kick drums sound, too. NU metal guitars and bass guitar amping is a plus. Some people like them for vocals.

(1) Beyer M201 - $200 - You NEED this for snare miking. Might sound good on guitar cabs, but I don't like them there.

(1) Royer R-121 - $1000 - Because I've always wanted to try one :) Supposed to be the king for electric guitar amps.

(2) Josephson C42's - $900 - Haven't used them either, but you'll want a pair of SDC's for overheads, acoustic guitar, and lots of other stuff.

(2) Audio Technica AT4047's - $1100 - I might be picking one of these up. This is the neutral but smooth sounding LDC. Used for vocals, acoustic guitar, and drum overheads.

(1) Shure SM7B - $300 - If you ever have to do voiceover work, you'll want this. Supposed to be great for screaming and metal vocals, and some pop singers (Michael Jackson) have used them extensively.

(1) Soundelux U195 - $1200 - Okay, I'm guessing on this one, but you'll want a go-to LDC for vocals that has a bit of a brighter, airy sound. You can sub in a Blue mic, a TLM103 or 193, or whatever you like here.

What's that put me at, about $6300?

For what I'd actually NEED, I could get by without the U195, SM7B and R/121. That puts me down to $3800. Still a big investment, but that's a lot of mics for the money. Sennheiser e609's could be subbed for (3) of the 421's, and that would put you down to $3200.

But, hey, that's my dream :)
 
BigRay said:
All around GO TO microphone--Stephen Paul Audio Mod u87(smokes )
Click to expand...

If it smokes, you better let someone take a look at it. ;)
 
AGCurry said:
Rather than providing specific models, I would say you should have:

1. A number of "utility" dynamic mics - Shure SM57, Sennheiser MD421, MD441;
2. Omni dynamic mic(s) - EV 635A or 655;
3. Really nice LD dynamic mic(s) - EV RE20 and/or Shure SM7;
4. At least one pair of small-diaphragm condensors - Shure SM81, Oktava MK012, Marshall 603, Neumann KM84/184, etc..;
5. A couple of LD condensors - too many good choices to name;
6. At least one nice ribbon mic with figure-of-eight pattern - AEA R84 or R44, Royer R121, Coles 4038, etc..
7. A couple of mics you like for bass drum;
8. A nice condensor mic with switchable patterns (can be one of #5 above).
Click to expand...

ditto. great advice for all types of music. this'd give a great backbone to a studio. i'd possibly add switchable patterns on the SD condenscers and/or definitely a couple different sets a'la 451 v. km 84.

Mike
 
heres my cabinet... never needed anything else.
1-Ev RE-20 - 400$
2 -Sen 421 - 700$
1 - AKG D112 - 200$
3 - Shure SM-57 - 250$
2 - Matched AKG 414 XLII - 2000$
2 - matched Neumann km-184 - 1600$
1 - Soundelux U195 1000$
1 - Beyer 130
1 - Beyer 160...the package with both beyers is 1000 at sweetwater.com

Thats a 7000$ setup NEW
 
I am surprised the omni Gefell M296 was mentioned here only ones. Beside this wonderful mic I'd suggest to look into its cardioid version, also Nickel diaphragm M294.
 
There is NO WAY IN H-E-DUBBLE-L I could improve on any of the above recommends...... They covered this one first rate and top notch!

But I should mention that the 414 was the first mic that came to mind when I read the question.....
 
An update on my entry above. I got to use the AEA R92 on a session this past weekend. I put it on an old Traynor guitar amp. All I got to say is wow.

It was an interesting session where we went for an old style 1950s sound so most everything was mic'ed in the same room.

Drums: EV RE20 out front, Blue Dragonfly and Oktava MK012 in the overs
Guitar amp #1: AEA R92
Guitar amp #2: sE R-1
Acoustic bass: Audio-Technica ATM25
Vocal: Beyerdynamic Soundstar MKII (thanks to Harvey for turning everyone on to this mic)

Please note two condensers, two ribbons and three dynamics.
 
fiveironguy said:
Maybe people have suggestions on how i oculd use my mics to mic a cab?
Click to expand...
Check out the recent series of articles in 'Recording' magazine, for an in-depth look at mic'ing guitar cabs. They are using a combination of three mic's - Shure SM57, Sennheiser MD421 and Audio-Technica AT-4050, and combining them for different results.
 
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