Bought Gear based on this Forum

  • Thread starter Thread starter malcolm123
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The high-end mics and pres are just like high-end instruments. They hold their value, they're fun to have around, and they do whatever they do better than cheap stuff does what it does.

Now if I had a room and a smidgeon of talent it might make it all worthwhile.............

I'm seriously wigging about finding some fucking work. I've got a reservation in the first 150 Stephen Paul's to be shipped and I wanna be able to take delivery when they hit the street.

And the gear lust continues................:D
 
Why an M149?

Ok, I have gotten good recordings both on the acoustic and the voice with the TLM103. With the M149, it is bigger, more detailed, warmer, fatter, but defined. It is a tube mic vs ss. This gives it a certain character. It has 9 polar patterns vs just the cardoid, which makes it very versatile (ie, adjust for room, for proximity effect, use for room, use for specific areas of the guitar. You can create different vocal effects, or an emotional pallate. It gives you a lot of room to grow as an engineer or recordist. And it absolutely eliminates the mic as the weak link. It sounds much better than the TLM for vocals, but, the KM184s sound better on the acoustic guitar in most applications in my opinion. Granted, I have not optimized my use of the M149, nor will I for some time to come. BUT the TLM has very low self-noise and is a crisp and bright mic, ideal for bringing out certain frequencies in certain situations: room, string sounds on an acoustic, and some vocals. Translation: I need it! BUT, someone with average gear and a lot of experience can get a better sound than I can with my limited experience, but that same guy would have much more possibilities with better gear. Some master recordists still use the SM57 even though they have a vintage Telefunken sitting right next to it in certain situations. It is worth the money in my opinion. I am not sorry. I love my mics and use all of them. The value is there, but if you cannot cough up the money, ingenuity and experience can more than compensate. I know this for a fact; a HARD fact.
 
Well stated IMHO !!

That makes sense and I like the way you broke it all down.

Thanks

Malcolm
 
If you think $2400 is an outrageously expensive mic, you're in for a big surprise. The Telefunken e-LAM 251 reissue lists for $10,000, for instance. Vintage ones in good shape can go for far more.

But in general, three good reasons to buy expensive gear include:

1) Your clients demand it. (As in you are losing gigs because you don't have something they want.)

2) You can't get the sound you are after in a more cost-friendly way.

3) It gets you where you are trying to go faster and easier.

Then there are some reasons NOT to buy expensive gear:

1) You're a gear addict.

2) It's pretty. (blue lights, big knobs, VU meters, etc.)

3) Someone told you you weren't a REAL studio/engineer unless you had (insert gear here).

Then there is the WORST reason for buying expensive gear:

Because someone famous endorsed it in a magazine ad.
 
As George Goebel (SP?) used to say...

I feel like the world is a tuxedo and I'm a pair of brown shoes.

Based solely on this board (without hearing first):

V67
ECM8000s (2)
Audiophile 24/96

And (after trying it out based on this board)

Taylor Big Baby

Results:
V67 - don't care for it, but that could be beause my voice sucks, or I just haven't figured how to make it work for me yet.

ECM8000's - bought them for acoustic guitar, don't care for them, but that could be because they pick up they sound of the room, and my room sucks.

AP 2496 - don't know yet. My recording space (basement) is in need of major structural repair (not just for acoustics, but so the damn house doesn't fall down), so I haven't had a chance to even put the card in yet. Probably going to cost me the equivalent of 10-15 U87's!

Taylor - Some days I like it, some days I don't. Don't get to play it much.

And Rev E, anytime you want to sell that DMP3, let me know. I'm sure it beats my you-know-what (the 'B' word) 1604.
 
Yo vsimmons- sorry for misunderstanding your slang- all due apologies. We do really get some jerks on the board who are proud of their crimes.
Malcolm- what do you whip out a badass mic for? Almost anything. Those of us who are lucky enough to own a badass mic or 2 usually only own 1 or 2, so you have to look for versatility. I only own one really high end mic (B.L.U.E. Kiwi), and I intend to add another soon (probably Lawson L251 or Soundelux U99). Generally, if I'm mic'ing just one track, I pull out the best mic I have, and if I don't like what I hear, I try less expensive mics. A kickass project studio is an unholy alliance of cheap gear that works and a few pieces of truly top flight gear.
I use an Avalon AD2022, and it works for me. I also use a Joemeek twinQcs and a DMP-3. One thing I can say about the Avalon- when the sound sucks, it's not because my preamp sucks. It usually means I have the wrong mic in the wrong place.
And Littledog's right- it has commercial appeal. Not just that the customer demands it, but when I brought in an engineer to assist with some mic placement (I'm hearing disabled), he asked, "what are you using for mics and pres?" I said, "Well, the gold channel is a B.L.U.E. Kiwi into an Avalon AD2022." And he says, "So, you don't have a problem, right?"
When you drive up in a Rolls Royce limo, they may not like your car, they may say it was too expensove, it may be they prefer the Ferrari, but they don't ask why you didn't buy a luxury car.
Finally, aside from the usually superior sound created by superior gear, there is a psychological effect on the musician. If you put a piece of pantyhose stretched over an embroidery hoop in front of an SM57, the singer is going to produce garage band sound, because that's where his head is. If you put a Stedman or a Sabrasom in front of a Neumann, he's going to produce big time studio sound, because he thinks he's in a real studio. Often people rise to the level of their surroundings.-Richie
 
I bought 2 Studio Projects B1's based on this forum (and asking around), and I bought 2 SP VTB1's... They represent the entirety of my mic locker (glove compartment).

The commercials I've made with them sound very nice, so I'm very happy.

But here's something else... A few weeks ago I met a California musician who's been a live performer for years, and is soon to go on the road in the US and possibly Europe, backing a female vocalist. He's also done soundtracks for various films -- beautiful stuff.

Anyway, he came over to record some demos in my "studio" and is quite pleased with the results via the B1's and the VTB1's. In fact he's coming back, with others, and asked if I'd be OK with having even more musicians by.

I actually do wish I had a Neumann or Telefunken or a Blue to pull out from time to time. But I'm glad I have what I do and VERY glad there was a site to steer me in the right direction.

Thanks.
 
Yesterday I bought a used Rode NTK based on the comments in the NTK thread. Will try it tomorrow.

Realised I was making progress when I began to understand why the AKGC3000B gets sucha bad press here.
 
Great thread! I bought the M149 back in 1996 brand new. It sounds better than any other mic I have in 90% of the applications.

Every commercial studio should have at least one top quality mic IMO.

You can hear the M149 on my website. The folk example: the male voice was recorded with the M149, so was the acoustic bass, the accordeon and the violin..

The female voice in the singer/songwrighter example was recorded with the M149 as well.

In the jazz example 1, the clarinet was recorded with the M149.

If I had the $$$ I'd buy another five M149's.
 
These are the things I've bought based on reviews here, and on other BBS's.

MK012 - 2
MXL603 - 2
NTK
DMP3
SP B1
MK 319

Blessings, Terry
 
It started back a while ago.

  • Shure SM57 - i like them.

    Behringer ECM8000 - piece of crap, i would sell them to anyone.

    Behringer Composer (2x) - Old school, made in Germany I had to look for these. They are not at all like the ones that are being made today. Very nice.

    Alesis ADAT XT 20 - Again, great solid pieces of machinery. I love computers, but for tracking they are the devil, if you ever wanted to destroy creativity, track on a computer. when they become rock solid, it will be much easier.

    The other thing I learned that you cannot buy is cables. I make my own, saves money, sounds great. The only ones i didn't make are the ELCOs for the ADATs and those are pricey and difficult to make.

    Latest purchase MXL V69 - I am trying not to have too high of hopes, I want to give it a chance. Hopefully I am as happy with it as all I've been hearing around the net.
Things I bought AGAINST the will of people of this board.

  • Mackie 1604 vlz - value for money here. Can't beat it. Well, you couldn't 4 years ago.

    AKG C414buls - people said it cost too much and didn't sound good. If this is true then my ears are destroyed and I don't know how to play instruments. Becuase this is one sweet mic.

    Sennheiser e604 - I was told you can't mount mics on drums and have it soung good on recordings. Again, I hear otherwise. Great mics, damn shame they are expensive, i want one more.

    Crown CM700 - well no one said anything bad nor good about this. No one said anything. I took a chance with these and I am pleasantly surprsed. I purchased a matched pair and the recordings I've put up here always get good reviews.
I still don't understand how the ECM8000s get good reviews. They must be the most shrill high frequency hyped overhead choices ever. They sound horrible. Things I want to get are an RNC and a nice stereo preamp channel. I've been sitting on those for a long time. RNC is not urgent since the Composers do so well. But a nice pre, i think after graduation this May I will be in store for a gift.
 
kristian said:
Behringer ECM8000 - piece of crap, i would sell them to anyone.

I still don't understand how the ECM8000s get good reviews. They must be the most shrill high frequency hyped overhead choices ever. They sound horrible.
Click to expand...
Kristian,

I'll be glad to take them off your hands for what you paid for them, assuming it's in the $35 each (or less) range.
 
I rely quite heavily on info and reviews found on this site for my gear purchasing as I do not have the luxury of trying of gears over here....

Some of the HR.com recommended gears I have:
- Joemeek VC3Q
- SP C1
- Audiophile2496
- RNC
- Yamaha Pacifica 112
- Roland JV1010
 
2 x dmp3 preamps
2 x MXL603 mics
very happy with the the results I,m getting using both these items in conjunction with just plain old sm57, 58 , rodes and stuff that I already owned before visiting here. Funny thing is most people talk about how cheap they are etc . That is of course if you live in the States. For us poor aussies those dmp3s retail for like $599.00 and the 603s are like $250.00 plus. I was pretty lucky as igot one dmp3 for like $200.00aussie on ebay-must have beeen a while before most people here knew the value of these. the other got new for $350.00 through an ebay importer. 603 I got really cheap as a buddy got them in the states and bought them to me for like $55.00 US each (they were 2nds, but still sound awsome).stoked.thanx forum dudes..
cheers
 
Sennheiser MD 421
MXL 603s
FMR RNP

All have been great additions, especially the RNP, what a change in how mics sound. Can't wait to use it live as a DI.

Gnat
 
Ah... I bought a pair of 603s, a V67G, a SP B1. As far as gear in the microphone forum. I don't have alot of stuff.

SoMm
 
AT 4033
rode nt2
okatva mk012
motu 828 mkII
grace 101
Mogami Cables
sony v6

More to come..

This place is a Blessing and a curse!
Sometimes I get so wrapped up in equipment I forget to make the music!

Thanks for all help though.

Know when to say when!
 
2-MXL603S's
1-MXLV67B
1-RNC
1-Boss DR-3
2-M-Audio SP-5B's

Out of all the item's listed, the 603S's turned out to be the best recommendation.
Beside's Harvey's info on them, someone alerted me to a yearly deal from Shreve Audio and I got them for $50.00 each.
RNC is pretty nice too.
 
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