A "many-voice" vocal mic...

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geet73

OMG!
Alright, I know this question's been asked a million times....

What mics would be considered to be the best for a variety of voices? I may be coming across a decent amount of money and I'd like to buy a "dedicated vocal mic". It seems that the RE20 and SM7 take well to many different voices. Unless my memory is not serving me well. I probably won't be spending more than $500, but please tell whatever mic you feel handles alot of voices well.
 
Here's a few that comes to mind...

AKG C414 B-ULS (I have not heard the XLS stuff)
Shure KSM44
Nuemann TLM103
AT4060 (I have not tried it personally but have heard good things about it)
 
In your price range I really like the Groove Tubes GT66 tube mic. I have tried a few of these out and I own a couple. They are great sounding on female vocals and very warm on male vocals. You might need a little bit of EQ on deep voices because of the warmth.

If you are looking for a dedicated vocal mic that sounds great on anybody you will have to spend a bit more than $500. I use the newly voiced Brauner Phantom C. It is the best vocal mic I have used, I think it kills the U87. Also, the Brauner is very neutral and sounds excellent in front of all singers, especially male vocalists. If you are looking for "the mic" try out a Brauner.
Or you can be like evrybody else and get the U87.
 
I second the GT66, it sounds great on my girlfriend's voice, the singer in my band and even makes my voice sound presentable. :D
 
In condensers, the most impressive LDC under $500 I've heard so far is the Studio Projects T3.

Between the RE20 and SM7, the RE20 is reputed to edge it in terms of fitting various voices closer "off the shelf" before resorting to EQing.
Plus it's easier for inexperienced studio singers to use.
The EV PL20 is identical, except for paint color.

Another excellent vocal mic is the EV RE15 (or RE16) BTW.
They both also have the Variable-D feature like the RE20.

Chris
 
chessparov said:
In condensers, the most impressive LDC under $500 I've heard so far is the Studio Projects T3.
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Really? You like the T3, huh? I've never heard one, but it has been recommended to me from another source (aka. a salesman). I've been thinking about getting one...
 
Thanks. Now comes the decision of whether a dynamic or condensor is what I want.

Anyone else feel like contributing?
 
Actually more "love" than "like" on the T3.

There's a good possibility, after forming my vocal quartet (down the road a ways), of snagging one to primarily use in omni setting for mono recordings.

The other LDC moving up the price/food chain that really impressed me was the Manley Gold Reference.

Chris
 
I just found out that if I'm getting the money, it won't be until February. GRRRR.

Ehh.

I just want to find something better than my MXL 990. I hate that thing. I used it the first time this weekend. I'll try to find something else for the time being. I can afford $200-$300 alright.
 
For many voices- cheap is hit and miss. Expensive mics often sound good on more people, but still not all people, and not even necessarily a majority. For cheap, all you can do is put the mic in front of somebody and see how it sounds. The same goes for expensive mics, they just work more often. My favorite mics that work on somebody:

Cheap- Shure SM57,SM58, Oktava MK319,MC012, CAD M-179, AKG C2000B, Studio Projects B-1,B-3,C-1, Sennheiser e835, e845, MXL V67G. (all < $200)

Low Mid-Priced- Rode NTK, Studio Projects C-3, T-3, B.L.U.E. Baby Bottle, Shure SM7B, KSM27, KSM32, Sennheiser MD421, Audio-Technica AT4033, AT4044 (all $500 or less)

High Mid-Priced- AKG C414, Neumann TLM103, Soundelux U-195, Shure KSM44, Sennheiser MD441, Electrovoice RE20, Rode K-2, AT4060, B.L.U.E. Dragonfly, Dragonfly Deluxe. (all $1000 or less)

High End (there are *many* possibilities here, these are just a few of my favorites)- B.L.U.E. Kiwi, Cactus, Bottle, Neumann U87, U47, Brauner Phantom-C, Voice Valvet, Soundelux ifet7, U99, Lawson L47 MKII, AKG C12.

As far as condenser vs. dynamic, be guided by the state of your preamps and your room. Condensers, with higher output, will do better with a cheap preamp, but will pick up the reflections of a bad room excellently. Dynamics will mask the bad room better, but need a serious preamp. If your room and your preamps both suck, don't buy new mics. Start fixing your room and shop for a preamp.-Richie
 
Richard Monroe said:
If your room and your preamps both suck, don't buy new mics. Start fixing your room and shop for a preamp.-Richie
Click to expand...

Damnit. Haha.

What are you considering a "good" preamp? Is "good" $1000+?

The only reason I wanted to buy another mic is because I don't have very many as it is. I also wasn't necessarily looking for a "cheap" mic. I have no problems with used stuff. :p

I was just generally asking. Also, any opinions on the RE20 or the Shure SM7 in regards to being good on lots of voices? I can get an SM7 used for $200 easily. I've heard alot of positive things about them too.

Maybe I'm just barking up the wrong tree and I should just scratch the mics completely. I just don't know where to start with everyone shouting "GO BIG OR IT SUCKS" or "THE PRESONUS BLUETUBE IS THE BEST MIC PRE EVER".

I can at least admit that I'm working on the room. I'm pretty adjusted to it as I've been working in it for the past 7 months or so.. but I'm going to at least put up a few bass traps in the near future. My friend works for a studio and the owner gets 703 for $5 a 2'X4' panel. Whenever they make an order I'm going to jump in and get some for myself.

I guess I've got some figuring out to do.
 
What is a "good" pre? For all intents and purposes, "good" pres for use with dynamics start at about $500 per channel. FMR Audio RNP and Grace 101 come to mind. Note that they are good pres, not great pres. Great pres start at about $1000 per channel. The SM7 is a very good buy at $200. It's a very versatile mic. Good on many voices, especially with the midrange presence boost engaged, good on snare, if you can find a place to fit it (it's pretty big). It is a *great* mic for voiceovers, and a great live stage mic. It rejects feedback with the best of them, and sounds very good through a PA. Whether or not it's the right vocal mic for you, I'd buy it at that price on general principles, just as an all purpose good dynamic mic.-Richie
 
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Yea T3 love not like :D
and if I were you i'd pick up the C1 and C3--thats what im gunna do just need the C3 as i have both the T#3 and C1 :cool:
 
Richard Monroe said:
For many voices- cheap is hit and miss. Expensive mics often sound good on more people, but still not all people, and not even necessarily a majority. For cheap, all you can do is put the mic in front of somebody and see how it sounds. The same goes for expensive mics, they just work more often. My favorite mics that work on somebody:

Cheap- Shure SM57,SM58, Oktava MK319,MC012, CAD M-179, AKG C2000B, Studio Projects B-1,B-3,C-1, Sennheiser e835, e845, MXL V67G. (all < $200)

Low Mid-Priced- Rode NTK, Studio Projects C-3, T-3, B.L.U.E. Baby Bottle, Shure SM7B, KSM27, KSM32, Sennheiser MD421, Audio-Technica AT4033, AT4044 (all $500 or less)

High Mid-Priced- AKG C414, Neumann TLM103, Soundelux U-195, Shure KSM44, Sennheiser MD441, Electrovoice RE20, Rode K-2, AT4060, B.L.U.E. Dragonfly, Dragonfly Deluxe. (all $1000 or less)

High End (there are *many* possibilities here, these are just a few of my favorites)- B.L.U.E. Kiwi, Cactus, Bottle, Neumann U87, U47, Brauner Phantom-C, Voice Valvet, Soundelux ifet7, U99, Lawson L47 MKII, AKG C12.

As far as condenser vs. dynamic, be guided by the state of your preamps and your room. Condensers, with higher output, will do better with a cheap preamp, but will pick up the reflections of a bad room excellently. Dynamics will mask the bad room better, but need a serious preamp. If your room and your preamps both suck, don't buy new mics. Start fixing your room and shop for a preamp.-Richie
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Excellent post... I'd add the Shure KSM44 to the list. Your post should be in the FAQ's. :)

EDIT: Oops, my mistake... I see you already listed the KSM44. :cool:

Second Edit: PS... I just tried to add a good mark to your reputation folder... but, I can't get it to work. :confused:
 
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While we're on the subject of buying new mics, where do you guys suggest purchasing mics online?

I've had good experience with Musician's Friend, but they don't carry a lot of the mics that are talked about here.
 
Justharold, please excuse my delay in responding (been extra busy).
Was referring to a barbershop harmony quartet.

Now that my life situation has changed (widower), the barbershop chapter has "big plans" :) for coaching me and getting things going for a quartet to at least be on "show level"-if not competing eventually in regional/national contests.

If that SM7 is in good operating/cosmetic condition it's worth well over $200.

Regarding pre's, if you're into low track counts, once you get at/above around the "Mackie pre" level they're fine for home or demo recording on most condenser and dynamic mics.
The Shure's, however, don't do well on Mackies specifically.

A microphone with a smooth response will typically do better with prosumer pre's. My RE15, for example, does relatively better than the SM57 at home on a M-Audio Duo (based on DMP2 pre's). This has also been stated independently by Paul Stamler, a respected pro AE at RAP.

Richie's overall knowledge far surpasses mine, yet IMHO the common emphasis on higher end pre's for dynamics is exaggerated for project studio
level recordings and home recording-as long as a good singer/mic match is made in the first place. Learning to place the microphone well is a huge factor in generating better recorded tone.

Chris
 
Well, I have to disagree that my knowledge base exceeds Chessparov's. We do have different experiences, though. I understand AKG dynamics because they work for me. He understands Beyerdynamics, because they work for him. I agree that the need for a top notch pre on dynamic mics is often overstated. What you do need is a lot of clean gain. You can get that from an M-Audio DMP-3. What doesn't work well is a pre that produces less than about 60db of gain, or distorts when driven hard. Example- that Blue Tube you mentioned, any ART preamp, of the Mackie Chessparov is referring to. The other thing, as Chessparov suggested, is that certain mics work well with certain pres, like guitars and strings. The whole deal matches the voice to the mic, the pre, the room, the material, and the mix.
What Chessparov and I have in common is that we are both singers, and have tried a whole lot of voices through a whole lot of mics. His choices in vocal mics are very different from mine, but that just means we both know our own voices, and the sound we are trying to get.-Richie
 
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