Changes In My Mic Locker - Opinions?

[Myriad_Rocker]

Hey everyone. After some research and mulling over what I want to do, I'm curious if there are any changes that I should make in my current mic locker.

Below is a list of the mics that I currently own, in no particular order.

Shure SM7b
Sennheiser e609s
AKG D112
Audix i5
Audix D2 x 2
Audix D4
Audix D6
Cascade Fathead II
Audio Technica AT4033
Rode NT5 Stereo Pair
Rode NTK

As I see it, the weakest part of my mic collection are the Rode's. I'm thinking of selling the Audio Technica AT4033, the Rode NTK, and the Rode NT5 pair. To replace these, I'm thinking of getting the following.

Soundelux U195 (aka Bock Audio 195)
Audio Technica AT4050
Shure KSM137 pair

I'm also looking into snagging up an MD421. I'm kind of waiting it out to see if I can catch a great deal on one. For those that will suggest it, the Royer 121 is something I'd love to have. But, I just picked up the Cascade FHII and I'd really love to give it a whirl along with the dynamics that I have or will have. In listening to samples, I really can't justify the price difference between the FHII and the 121 anyway. They sound very similar and there are cases where I even preferred the FHII...and vice versa, of course.

Inevitably, someone will also ask about my pre situation. My main pre is currently a Great River MP-500NV in an API lunchbox. I just picked it up not even a month ago and I'm loving it. For tracking more than one thing at a time, which I only do with drums, I'm currently using the ADA8000 along with the RME pres on the FF800. I have future aspirations to replace the ADA8000 with a couple of API 512C's or even a couple of 4 channel API's but since I do a fair amount of sample augmentation and/or replacement, it's not a real high priority right now. That being said, I have also found in my relatively short experience in recording that mic selection has a greater impact on the sound than a pre does. This, however, could just be my imagination.

Someone will probably also ask about my room and acoustic treatment. I have built bass traps using OC703 for the corners of my room, have a cloud hanging at my mix position, have treatment at the rear of the room and also the first reflection points. For now, this is the best I can do and what mixing I have done has translated pretty well and I'm happy with the results. I have Event ASP8's, by the way.

If it matters, after selling the aforementioned mics, my budget (including the cash I can spare) will be about $1900 to $2000. So, obviously I'll be picking up some mics used if I can.

This all being said, I haven't actually had a chance or been in a situation where I have even used the NTK on anything. But I know what I read. I purchased the mic on a whim really...based on hype more than anything. So and so artist used it in the studio and I thought, "If it's good enough for him, it's good enough for me." Totally not considering what other things they were running the mic through and what kind of treatments were done to the signal. It was quite some time ago when I first started to get into recording. Seems kind of strange that I haven't used the NTK...but I've just never bothered since I haven't recorded any vocals yet. To be totally honest, I don't have that much hands on experience recording at all. The past couple of years or so has been spent scouring a few message boards learning all that I could about the recording process. I have had mixing experience but that's totally different from actually engineering a recording.

I have used the NT5's. While I was not impressed with them by any means, they did their job. I can't say they sound particularly bad but I can't help but wonder if something else would sound better. And according to what I constantly read about these mics, that seems to be the case. They're good for what they are but better could be had, right? The Sure KSM137's had been suggested to be a short time ago as an upgrade to the NT5's. They were recommended by some over the SM81's, actually.

There...I think I covered all the bases...sorry for the novel. I tried to answer every question I could think of that might come up.

So...opinions on what I'm going for? Is the Soundelux a good choice? I figure it's probably the best of the pack in its price range and to get any better, I'd probably have to spend 3 times as much.

 

[Myriad_Rocker]

I guess my post was just too damn long...

 

[maskedman72]

you got nice pres and monitors and your room is treated so it sounds like you have it good.

i would for shure grab an md421 without a question.

also a nice ldc. i had the u-195 and it really didnt do much for me so i sold it and got an se z5600a and put a 5 star blackplate tube in it and i am loving it and it cost me $500 on ebay. check this mike out if you are looking at a ldc.

 

[SouthSIDE Glen]

Two of the most versitile mics (IMHO) that you'll find in a large number of established studios but seem to be largely ignored by the little/new guys (because they aren't sexy LDCs and they cost more than $100):

1. The Sennheiser 421, as mentioned. Good for everything from toms to guitar cabs to saxaphones and more. (For a few bucks more, step up to it's big brother, the 441. Even nicer for the pricer).

2. The ElectroVoice RE-20. A staple in radio broadcasting and ADR/post, it's also a very versitile utility player in the studio. I've seen and heard them used on evrything from vocals to kick drum.

Both mics are mid-priced - $329 and $399 new, respectively, but extremely versitile for the price.

IMHETC.

G.

 

[Myriad_Rocker]

1. The Sennheiser 421, as mentioned. Good for everything from toms to guitar cabs to saxaphones and more. (For a few bucks more, step up to it's big brother, the 441. Even nicer for the pricer).

It's already on my list...see above. You make long posts and expect people to read them...so go read mine.

2. The ElectroVoice RE-20. A staple in radio broadcasting and ADR/post, it's also a very versitile utility player in the studio. I've seen and heard them used on evrything from vocals to kick drum.

The Shure SM7b is just too similar to this mic, is it not?



My target here is to replace some mics that I already have. The MD421 is an addition to my collection and is not replacing anything.

Getting rid of the NTK, I'll need an LDC for vocals to replace it. The Bock Audio 195 seemed like a damn good mic in that price range. If I could do better, I'd really like to know. I can't afford 100 vocal mics for every type of singer that comes through. If I could get a couple of good ones in, I'd be set for most things. For dynamic vocal mics, I already have the SM7b, which will work on a lot of things.

Selling the NT5's, I'll need to replace those as well. I'm looking at either the Shure KSM137's, Shure SM81's, or even Josephson C42's.

As for the selling of the AT4033, I'm simply looking to upgrade this to an AT4050. I'm not sure, at this point, if that would be worth the money. But unless I read otherwise, I'll probably do it.

 

[SouthSIDE Glen]

It's already on my list...see above. You make long posts and expect people to read them...so go read mine.

I did read yours, as well as maskedman's. Which is exactly why I said "as mentioned". I was thirding the choice (I notice you didn't have a problem with maskedman72 seconding it.) Who's reading who?

The Shure SM7b is just too similar to this mic, is it not?

Similar, but most definitely not the same. The exact same thing could be said about the 421; another LDD in the same class with similar characteristics. Plus, you make no mention as to how many Shures you may have. If you have only one SM7b - or even if you already had one RE-20 - IMHO the RE-20 is so versitile and useful for the price, adding a second to the locker is still a worthwhile option, IMHO. It's kinda like saying "I already have one SM57, what do I need another for?", except with an even better-sounding and more versitile mic than the 57.

My target here is to replace some mics that I already have. The MD421 is an addition to my collection and is not replacing anything.

That second sentence seems to be saying that you are looking at more than just replacement.

Personally your description of your strategy for replacement is kinda confusing to me; you seem interested in replacing based upon mic design category rather than need or use. For example, your description of the replacement of the NT5s which you say worked OK but you think you can get something better. That only causes me to ask "better for what purposes?" I'm not sure why you're making the assumption that you need to replace SDCs with more SDCs? Mic design is a distant secondary consideration in my book. It's what part of the lineup they need to fill that's important. Are you looking specifically for drum OHs here, or for something else? Why do they have to be SDCs?

That said, if you want a nice cardioid SDC that, again, has a lot of versitality to it, you might want to also look at the Earthworks SR20. A bit more expensive than the SM81, but a very neat sound, IMHO.

G.

 

[Myriad_Rocker]

I did read yours, as well as maskedman's. Which is exactly why I said "as mentioned". I was thirding the choice (I notice you didn't have a problem with maskedman72 seconding it.) Who's reading who?

You were an easy target. That and I had already been firm on my decision to get an MD421.

Similar, but most definitely not the same. The exact same thing could be said about the 421; another LDD in the same class with similar characteristics. Plus, you make no mention as to how many Shures you may have. If you have only one SM7b - or even if you already had one RE-20 - IMHO the RE-20 is so versitile and useful for the price, adding a second to the locker is still a worthwhile option, IMHO. It's kinda like saying "I already have one SM57, what do I need another for?", except with an even better-sounding and more versitile mic than the 57. That second sentence seems to be saying that you are looking at more than just replacement.

Fair enough, but I'll look into the RE-20 at a later date. And I might not jump on an MD421 tomorrow. I just keeping an eye out for a good deal on one. If I can find it, I might pick it up. It's a respectable mic, as is the RE-20.

Personally your description of your strategy for replacement is kinda confusing to me; you seem interested in replacing based upon mic design category rather than need or use. For example, your description of the replacement of the NT5s which you say worked OK but you think you can get something better. That only causes me to ask "better for what purposes?" I'm not sure why you're making the assumption that you need to replace SDCs with more SDCs? Mic design is a distant secondary consideration in my book. It's what part of the lineup they need to fill that's important. Are you looking specifically for drum OHs here, or for something else? Why do they have to be SDCs?

My main focus for the SDC's are as drum OH's. As a secondary use, they could serve for micing an acoustic. That's my target for them. Josephson C42's, AT4041's, and MK-012's have also been suggested to me in addition to the KSM137's. Frankly, it gets to be quite much.

That said, if you want a nice cardioid SDC that, again, has a lot of versitality to it, you might want to also look at the Earthworks SR20. A bit more expensive than the SM81, but a very neat sound, IMHO.

I might check it out. My consideration list is growing rapidly. I have kind of taken the Bock Audio 195 off the list because there's such a long wait. None have shipped since March.

CharterOak SA538
Pearlman TM-1
Peluso 22 251
SP B-1 (cheapie, but I might check it out)
KSM44 (I have heard good things about this one, and it's moderately priced)
KSM137
Josephson C42
AT4041
MK-012
AT4050
MD421