Looking for a different sound... help?

P

ProJect

New member
Hey,

I'm kinda new to recording, but I think I've got a pretty decent start. I bought a Korg D16 to record on and now I have the following mics:

Oktava MC012 (2)
CAD E-200 (1)
SM-58 (2)
AKG C1000(I should prolly sell these. I don't use them) (2)

I use a Mackie VLZ mixer to feed the phantom power. Now... I wanna get a very silky sounding mic for vocals. I don't wanna spend over $1000. The mics I'm looking at are the Rode NTK, Rode K2, the Studio Projects T3, the BLUE Dragonfly, or the EV RE20.

Which of those would you guys recommend? Any other suggestions?

Should I maybe look at getting some better pre-amps? Would it matter given that I'm using a D16? For another $1000, what 4 channels would sound the best with my mics? I'm just looking for some pretty neutral/flexible sound. Thanks for the help, guys!

Connor
 
You need a nice large diaphragm dynamic based on your selection...

I'd get the RE20 and maybe a couple FMR RNP Preamps. The RNC Compressor wouldn't hurt, either...

Of course, there are about a zillion decent "channel strip" type preamps out there with EQ, compression, etc. that you should also consider...

John Scrip - www.massivemastering.com
 
Dragonfly is pretty tough to beat in that price range for most vocals. Particularly the softer, breathier type. Not something I'd use on a more aggressive screamer type, but a very very nice vocal mic for a crooner type.
 
You may want to look into a used Neuman U87. It is still a standard in the industry. Although a bit "high-ended" at times, I have found that if you put it through a compressor/limiter (especially an LA4), and do NOT use the functions of the unit, passing the mic through the electonics alone is a neat studio trick. You could try this witha simple SM58 as well. The trick is to pass through the electronics of the external unit and NOT use the compressor/limiter funtions. I've (secretly), used this technique on major records. It's a weird concept, but it is effective.

Rick
 
How about this:

An ADK A51TC (a large diaphragm, cardiod pattern tube mic that's been getting rave reviews everywhere, check new Tape Op for one) $499 new

An RNP (good bang for the buck stereo mic pre) $475 new

and then, if you can, an RNC (great compressor)$175

This would potentially give you an excellent vocal chain as well as a very good 'stereo' chain for your pair of Oktava's (for, say, drums, or stereo guitar recordings).

If you look, you may be able to come in at your $1000 budget by buying used, I see all of these items on ebay consistently. If you buy new, you're just a little over.

This should be a pretty high quality chain.

Chris
 
I have a Korg D16 with a Focusrite Voicemaster preamp/channel strip and a Studio Projects C1 Mic. It works well, but keep in mind that the d16 has limitations sonically no matter how much you spend on outboard gear. I now also have a PC set up and rarely use the d16, but it served me well for over 2 years.
 
This may or may not help you, but I have found an "outboard" unit called: "ANTARES AVP-1". This unit has many functions. For best results, I would insert your mic directly through it (as opposed to using it as an "effect". This is known as a "Vocal Producer". Besides the ability to correct pitch (among other things), it can emulate many hi-end microphones. You may want to check this out at any major music store. It is relatively inexpensive, but truly works well. Just athought...

Rick
 
You have asked a tough one. Here's why- Almost everyone agrees that a good mic and a good preamp can help to get better vocal sound. That's the easy part. The hard part- the mics that make a singer sound good are damned unpredictable. You can describe the voice and the material, post up audio clips, and a bunch of experts can render honest advice and be dead wrong. There is no mic, including multi-thousand dollar Neumann tube mics, that can't sound bad on somebody, and almost no mic so bad it won't sound good on somebody.
This is why most honest experts will strongly advise you to try to go to a brick and mortar store and try singing through a bunch of mics. I know this isn't always practical. That said, I'll put in my 2 cents worth. Were I in your position, I would consider a good cheap pramp with 2 channels for my Oktavas. At $160 or even less at some locations, M-Audio DMP-3 is a no-brainer. Then I would buy 2 mics- a kickass dynamic and a proven mid-priced studio condenser. Namely, Shure SM7B ($369) and Audio-Technica AT4033CL ($399). The whole deal $928 from 8thstreet.com with free shipping. That's my choice. If you want a package with just one channel, using a tube mic and compression, I would select M-Audio Tampa and Rode NTK, $400 and $500 respectively.
Just a word on my thought process. First, although the EV20 is a *great* dynamic mic, so is the SM7, and it's less money. If you have to buy mics without being sure if they will work on a given vocalist, or a given song, it's good to have options, and to buy mics that have proven their versatility repeatedly in professional studios. There may be many here with different personal preferences, but I don't think you'll find very many people with a clue that will tell you the SM7B or the AT4033 suck, and aren't good on a variety of vocals. Best of luck-Richie
 
CMEZ said:
...An ADK A51TC (a large diaphragm, cardiod pattern tube mic that's been getting rave reviews everywhere, check new Tape Op for one) $499 new
Chris
Click to expand...
If you haden't I would have- mentioned ADK.
I have the ST (multi-pattern but not tube) and the AT 4047. Both come from two completly very nice tone directions.:D
Wayne
 
It seems you are considering a budget of about $2000 for all this stuff.

Keep in mind that the Oktava's are generally good vocal microphone themselves, and are somewhat "silky" in tone to begin with.

Unless you want to keep a SM58 for live performance and there's a STRONG tendency
to pop P's get two (different) microphones like the following;

1) Shure SM57 or 545 series
2) Electro-Voice RE15 or RE16
3) Beyer Soundstar MKII aka M400
4) Electro-Voice EV 635a omni

Any of these four can be used live also BTW.
Choices #2 and #3 have a similar silky tone.

Both the SM7 and RE20 are well worth
having at some point too.

Sell the C1000's and use the $$ towards
whatever condenser microphone(s) you eventually select. It's more of a priority to try those out in person vs. the dynamic microphones I suggested because there's tendency to be able to EQ dynamics better than many condensers so don't get stuck.

Go to www.realtraps.com to check out the MiniTraps to better prepare your room for using a sensitive condenser mic.
Ethan Winer also gives terrific advice and has a forum at www.musicplayer.com devoted to this.

Also contact Fletcher at www.mercenary.com
He is a strong pro AE who personally tries out all the fine gear they sell, and can advise you much better than yours truly on mic pre's/outboard gear, etc.

I do know that the Shure microphones mentioned thus far do not mesh well with the Mackie pre's (unlike a condenser mic).

Not personally familiar with your CAD's, perhaps they could also be sold in order further aid the upgrade effort.

Have you considered the benefit of getting good outboard gear like a Kurweil Rumour for reverb, and a useful parametric equalizer too?

A parametric is a key tool in "sculpting" a microphone's tones, particulary dynamics.

Chris

P.S. Am a fan of the SP T3, put it on the
short list to try.
 
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