Moving up from C1 and Rode NT-1

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Frankm666

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Want to get a mic that is warmer for vocals. Looking at AT 4050. That is the top of my price range. Anything in that range people think I should listen to? Thanks for the help,
Frank Military
 
both dynamic mics

Interesting, both dynamic mics. thanks. Anything else? Anybody?
 
You might be happier with the AT4047. I would demo it first though. The AT4050 is great too though. Just not very exciting really.

Danny
 
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Re: "warmer"

The C1 and Rode are very bright to my ears. The singer in my band is real tennor and the vocals can get harsh sounding.
 
I agree with Darnold - AT4050 will not get in your way if you have a really good singer, but it is also not particularly exciting either!!!! :)
 
What are my other choices?

What are my other choices? Is my price range to low?
 
There's loads, but if you're matching to a particular singer, you are going to have to do some trials. Blue Baby Bottle, EV RE-20, Shure SM7, AKG C414, Studio Projects T3, Shure KSM32 and Neumann TLM103 would all be mics I'd want to try to find the best fit.
 
Good list

Thanks, that gives me a good place to start. Would you guys trust the Listening Sessions as a way of evaluating the microphones? From your experience are the MP3 reflective of what I'd hear in the store? Thanks for the help,
Frank
 
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You have to have to have to match it to the voice! The Listening Sessions gives you some good ideas on what the basic characteristics of each mic are, and usually I find that the desciptions that users give of their mics match up to the sounds I hear on the MP3s there. But I have too little money to base an expensive decision solely on those clips.
 
Frankm666 said:
The C1 and Rode are very bright to my ears. The singer in my band is real tennor and the vocals can get harsh sounding.
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If that's the case, then yea ... I definitely think you'd like the 4050 a lot better. It's not nearly as hyped in the high end as either of the 2 mics you mention. It's also versatile, and very accurate.



Noisedude makes some other very good recommendations for condensers that aren't as bright. Particularly the KSM-32, which I've found to be one of the most forgiving in terms of harsh esses and harsh consonants.

And Ozraves makes some more great suggestions with the dynamics. In general, you'll find dynamics to be much more forgiving in that regard. Paricularly on singers who tend to be aggressive; expressive / loud.

At the very bottom of the price ladder, I would look at the Oktava MK-319. An under-rated and under-appreciated mic that sells for next to nothing.

Overall, you've gotten some very good advice in this thread.
 
Lots of thanks

I wouldn't base my discission on the listening session, just wondered if they were a trustworthy starting point. Thanks again this has been a really big help.
 
Awww Chessy ... thank you! Actually, this is another damn good thread. We're having more of them at the minute, I wonder if something's in the water?

Frank - some of the Sessions are more reliable than others, I think they refined their testing techniques as they went on. Dan Richards comments on that on the site, I think, especially in relation to the first session. But I think you can certainly glean some broad impressions from it, but after that it comes down to your vocalist.

Don't forget about the sound sitting in the mix either ... one of the first and least natural rules of mic selection and placement is learning to predict how something is going to sit in the sonic spectrum. Like the first time you recorded a really 'warm' acoustic guitar track and then had to roll off all the low end because it was just too 'big'. The high end on the vocal can make more difference than tweaking the volume in how well you perceive that you can hear the voice and make out the lyrics. That's why mics that get it right for your source are very precious, regardless of price. And mics that tend to get it right on nine out of ten sources tend to cost nine to ten times as much!!! :D:D
 
I've had good luck with a AT 4060 on a tenor rock vocalist
 
I own an AT4047 and it gets used a lot. You will not be disappointed with the AT4047. It has a nice warm sound and the high end is very clear. I plan on buying another one when my budget allows so I have a pair.

Rob
 
noisedude said:
...Blue Baby Bottle, EV RE-20, Shure SM7, AKG C414, Studio Projects T3, Shure KSM32 and Neumann TLM103...
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I'm not crazy about the blue baby, but other than that, it's a good list, I'll add an AT4047 (I luv mine!), AT4060, and an egg beater.

If you like warm and bright - AT4050
 
Chessrock, do you think that the Oktava MK-319 would be an "upgrade" from the NT1?
 
JuliánFernández said:
Chessrock, do you think that the Oktava MK-319 would be an "upgrade" from the NT1?
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The upgrade that Frank is looking for is a different sound to the mics he has. It's certainly worth checking out, in case the cheap one turns out to be the keeper!

Tim - Is eggbeater now an accepted shorthand then? Good to see one or two of my jokes are standing the test of time ...
 
I'm a little suprised no one listed the Rode NTK yet. It did a GREAT job on a tenor vocalist in the last band I recorded. I've used it in the past mostly on my tenor sax. I tried many other mics in this application and was suprised by the warmth. Take this recomondation with a grain of salt though, I've never used the NT1 or the C1.

good luck
 
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