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DJL
Self Banned
When referring to mic's... I think of neutral, natural and flat as all meaning the same thing.
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chessrock
Banned
Well . . . I suppose one is usually the other, but not always, so you'll probably be accurate more than half the time . . . so whatever floats your boat.
A more accurate definition of neutral is uncolored. A more accurate definition of flat is unhyped. Being flat or unhyped can contribute to sounding neutral or uncolored. And being neutral or uncolored very often entails having a response that's flat and/or unhyped . . . but the two words are still not interchangeable.
Whether or not you have the willingness (or intelligence?) to recognize that there are differences between these two concepts. . . doesn't change the fact that they exist.
A more accurate definition of neutral is uncolored. A more accurate definition of flat is unhyped. Being flat or unhyped can contribute to sounding neutral or uncolored. And being neutral or uncolored very often entails having a response that's flat and/or unhyped . . . but the two words are still not interchangeable.
Whether or not you have the willingness (or intelligence?) to recognize that there are differences between these two concepts. . . doesn't change the fact that they exist.
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DJL
Self Banned
Ok cool... so now you know why I said what I did... and IMO, it's important when referring to mic's. And a more accurate description of the Studio Projects B1 is... "tailored" rather than "neutral"... whether or not you have the willingness (or intelligence?) to recognize that there are differences between these two concepts. . . doesn't change the fact that they exist. Thanks for the debate, I enjoyed it. 
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chessrock
Banned
Oops. I edited my post before your response. You're too fast for me, DJL.
You're too fast for me, DJL.
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DJL
Self Banned
That's ok... we're done anyway.
kid klash
The original Mr. Nice Guy
Comparatively speaking...
Sorry to rub salt in your wounds DJL, but all mics have "tailored" characteristics, whether by design or by accident... some are tailored to be bright sounding (AKG C-1000 comes to mind), some are, comparatively speaking, tailored to sound neutral (like the SP B1).
DJL said:Ok cool... so now you know why I said what I did... and IMO, it's important when referring to mic's. And a more accurate description of the Studio Projects B1 is... "tailored" rather than "neutral"... whether or not you have the willingness (or intelligence?) to recognize that there are differences between these two concepts. . . doesn't change the fact that they exist. Thanks for the debate, I enjoyed it.
Sorry to rub salt in your wounds DJL, but all mics have "tailored" characteristics, whether by design or by accident... some are tailored to be bright sounding (AKG C-1000 comes to mind), some are, comparatively speaking, tailored to sound neutral (like the SP B1).
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Richard Monroe
Well-known member
The great semantics debate aside, my very subjective decision is this- The B-1 is a great cheap mic, but for almost anything I would use it for, I have a more expensive mic that will do it better.
For a guitar mic, I would use a C414 instead. For vox, toms, or overheads, I would use a C2000B instead. For what I would use a C-4 for (or more likely the pair), I don't have a more expensive mic I'd use instead. Maybe if I had some KM84's, or some Josephsons, or some Earthworks, that would be different, but it's not. For a pair of SD condensers, I have heard no mics for less than $1000 a pair that I would use instead of the C-4's. It sure isn't Rode NT-5.
So for my purposes, the B-1 gets put up where I need another LD, and I'm running out of mics. The C-4's are may main SD's, and I'll try others if they aren't quite right for the job. I don't quite agree with Dot's impression of them. They are very good on acoustic guitar, and by far the best mics in my cabinet for anything with nylon strings.-Richie
For a guitar mic, I would use a C414 instead. For vox, toms, or overheads, I would use a C2000B instead. For what I would use a C-4 for (or more likely the pair), I don't have a more expensive mic I'd use instead. Maybe if I had some KM84's, or some Josephsons, or some Earthworks, that would be different, but it's not. For a pair of SD condensers, I have heard no mics for less than $1000 a pair that I would use instead of the C-4's. It sure isn't Rode NT-5.
So for my purposes, the B-1 gets put up where I need another LD, and I'm running out of mics. The C-4's are may main SD's, and I'll try others if they aren't quite right for the job. I don't quite agree with Dot's impression of them. They are very good on acoustic guitar, and by far the best mics in my cabinet for anything with nylon strings.-Richie
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DJL
Self Banned
Thanks for the input Richard, I'd love to hear and try the C4's... but there are no music stores in my area that have them and I will not be buying any more mic's without hearing them first. With that said, hopefully some day I'll get the chance to use the C4's and see how they preform. Thanks again.
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Mr Funk
New member
I class a neutral sounding mic as one that is not heavy handed with it's interpretation of the original sound wave! Any colouration will be subtle and balanced throughout the freequency range of the source, not biased towards any particular area of the spectrum. Does my description of the word 'neutral' fit with anyone else's interpretation?
BTW. I found the B1 to be neutral on my voice.
I also find the Electro Voice RE1000 to be very neutral, but still quite flattering! A great underated mic!!!
BTW. I found the B1 to be neutral on my voice.
I also find the Electro Voice RE1000 to be very neutral, but still quite flattering! A great underated mic!!!
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DJL
Self Banned
Thanks for the input Mr Funk... as far as LDC go, I think of the Shure KSM32 as being a pretty neutral mic. Anyway, thanks again.
jimistone
long standing member
if the track isn't going anywhere you have a neutral mic...or you may have a flat
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Kryogh
New member
I'm still not sure I understand this thread, my english is probabely not enough neutral. Or flat.
Treeline
New member
I'm not going near the terminology that seems to be a lightning rod for quibbling.
But I do have a pair of SP B1s, a C3, a pair of MXL 603s and a couple of dynamics. I use the B1s mostly in live vocal and acoustic instrument situations and they are real workhorses. The only problem I've had is with really high stage volume - where my dynamics seem to have better feedback resistance for vocals. I usually don't encounter that extreme, though.
From my point of view, there is absolutely no way you can lose picking up a pair of SP B1s. Forget about which is "better" or "flatter." Look at the price and look at the utility. Mine get used every single solo or sound gig I do. Think of it as the SM57 of the LD condenser world and it'll make sense.
PS: The 603s rock, too. I'm beginning to get familiar enough with them so I can see where they are a bit hot in the high end. Again, for me the issue is a price / utility ratio that means they owe me absolutely nothing. These on a D-18 guitar will give me goosebumps. And when the budget allows, the C4s are on the list.
But I do have a pair of SP B1s, a C3, a pair of MXL 603s and a couple of dynamics. I use the B1s mostly in live vocal and acoustic instrument situations and they are real workhorses. The only problem I've had is with really high stage volume - where my dynamics seem to have better feedback resistance for vocals. I usually don't encounter that extreme, though.
From my point of view, there is absolutely no way you can lose picking up a pair of SP B1s. Forget about which is "better" or "flatter." Look at the price and look at the utility. Mine get used every single solo or sound gig I do. Think of it as the SM57 of the LD condenser world and it'll make sense.
PS: The 603s rock, too. I'm beginning to get familiar enough with them so I can see where they are a bit hot in the high end. Again, for me the issue is a price / utility ratio that means they owe me absolutely nothing. These on a D-18 guitar will give me goosebumps. And when the budget allows, the C4s are on the list.