Studio Projects B1

M

Miseria_Cantare

New member
Just ordered this mic, and wondering what people think of it + how it compares to... the Behringer B1 (which I already have)

I remember reading only positive things about it last time I was here, but it was actually less expensive than the Behringer B1, so I'm wondering if it'll be worse?
 
eVERYONE Loves this mic (well mostly everyone) it's a cheap mic that gives good quallity results (better than the behringer) so don't worry about it being cheaper.
 
Miseria_Cantare said:
Just ordered this mic, and wondering what people think of it?
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Ahem.......


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Disregard recordingpro... he doesn't know squat about recording, or mics, or he'd have the guts to post a song he's recorded or list one of the many CD's that he's supposedly recorded/engineered/produced. He's just a troll that has a bug up his butt about Studio Projects products.

The Studio Projects B1 is a very good mic, regardless of cost. There are two of them, along with a B3, in my mic locker.
 
I have a B1 and a C1 - it's like comparing the color of shite - one is shiny and shimmery with a dark hue - the other has sharper edges but tapers at the ends with a lighter hue. They both float in the bowl pretty well. Either can be hard to pass without enough fiber in your diet though, in that case just grab your knees and squeeze.
 
kid klash said:
Disregard recordingpro... he doesn't know squat about recording, or mics, or he'd have the guts to post a song he's recorded or list one of the many CD's that he's supposedly recorded/engineered/produced. He's just a troll that has a bug up his butt about Studio Projects products.

The Studio Projects B1 is a very good mic, regardless of cost. There are two of them, along with a B3, in my mic locker.
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Wait! You mean all us homerecorders with families to feed aren't suppose to shell out $3000 per mic?? I thought we had to buy the high end stuff since we're all rich and can afford pro studios!

My wife is constantly throwing hundreds at me for gear saying "Don't worry! We can eat next month!".
 
PhilGood said:
Wait! You mean all us homerecorders with families to feed aren't suppose to shell out $3000 per mic?? I thought we had to buy the high end stuff since we're all rich and can afford pro studios!

My wife is constantly throwing hundreds at me for gear saying "Don't worry! We can eat next month!".
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:D

Yeah - we're all "made of money" types, that don't give a hoot about what a mic does or sounds like... we just want to brag about the big ticket fancy-name doodads we've supposedly got, and how much they cost. It makes us feel so much more secure.

Not.

;)
 
Owned a SP B1 and sold it. Thought is was OK as an overhead mic, but on vox, not so much - sibilance issues for me which I don't have when using my CAD mic. The guy I sold it too was pretty happy with it on vox and I think he may have even used it to record his guitar.

I'm pretty happy with my mics that are around the $200+ range.
 
I've got a pair of the SP B1's and I think they're a great buy. One of the workhorses around my studio. For the money, they're hard to beat.

Purchase with No Fear.

:cool:
 
Miseria_Cantare said:
How does the B1 compare with the B3 or C1, may get a more expensive one next time...
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The B3 is a dual diaphrgm version of the B1, which gives it more patterns, such as figure 8. They sound similar, but not exactly the same because of the dual diaphragm geometry in the B3. They are very "accurate" for being LDC's, and (IMHO) excel at M-S mic'ing. Smooth bottom, mids and highs.

The C3 was designed primarily for vocals, although lots of people use them on lots of other sources. It's a single cardioid pattern LDC, it has a slight high end rise to give the vocal an "immediacy" and sheen.
 
Gotta love the cheap SP B1. I have two for use with acoustic stringed instruments, and the unhyped response works well for me. Excellent value.

J.
 
I use the B1 on all kinds of stuff, including micing amps for live sound. It's stable, useful, pretty tough and cheap.

I also have a B3 that gets used for vocals and in connection with instrumental / acoustic groupings, like old timey music. Also used it in recording string quartets. Decent mic, but many at the price range are pretty competitive. Both mics are kickers for the price. Neither one seems to have a real "characteristic" sound - both seem pretty neutral.

I've never needed service or warranty work / replacement on any of my mics. But it's worth finding out about the dealer or mfr service / replacement reputation, as these are all entry level products; the chance of getting a dud has to be a bit higher simply by the numbers. How does the dealer handle a return?

The only defective piece of gear I ever took delivery of was a new Tascam digital mixer. I had it kicking around for a while before I put it through its paces. It was DOA; lights, signal in seemed to reference, but dead at the outputs. I was a couple weeks out of MF's return time, but I called them up anyway, explained the situation and got a return authorization. When I looked at my credit card bill I found out they had reimbursed full price - plus the return shipping.
 
I'm borrowing one to try out this weekend for a session if I don't forget to take it with me from work.
 
Bondo said:
I'm borrowing one to try out this weekend for a session if I don't forget to take it with me from work.
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That's the best way to find out if a mic is going to do what you want it to do without spending the money up front. Way to go!
 
expensive equipment vs cheap equipment

What does it matter when all your songs probably suck asshole? And i dont mean genre-wise. I mean if all your tunes are written half assed with absolutely no regard given to composition or parallel construction nothing will really "sound good" to anyone but you.

Man, anyone with a few bucks (or a million bucks) and an instrument can call himself an "artist" these days.

This is your ideal setup if you really care about music and art:

Some means of recording and playing back sound (analog, digital) that doesnt take alot of time or money to operate and maintain.

A microphone (any)

An instrument (any)

Your voice

Then all you have to do is write and record and practice and study other successful compositions. When you are learning from others songs, dont be an idiot and listen for guitar tone or echo or anything facetious. All that is bullshit. Write down the count of the song and take note of where all the accented or unaccented counts are. Look at the chord progressions and take note of every change (think of every chord change as one chord to the next, not just 5 or 6 chord groups). What notes move up or down? What notes sustain from one chord to the next? Does the progression follow the harmonic scale religiously or are there deviations (chromatic notes or chords)? Examine and take note of all cadences. Are they conventional or unconventional cadences? Then study melody. How many notes are on the accented (masculine) or unaccented (feminine) beats? How many notes are non chord tones? Are those non chord tones occuring on accented or unaccented beats? Are there any suspensions or anticipations occuring in the non chord tones? Also since cadences are both harmonic (chords) and melodic (notes), take note of where the melody lands as the cadences close. Does the melody land on a root note (at rest) or some other note like a 3rd or 5th (continuing)? Also, study the songs for any occurrences of any sequence based hooks or modulations. Take note of how the writer moves the key from one to the other using certain musical devices. Practice moving keys around (modulating) with intent, NOT RANDOMLY.

These are just some of the things you MUST do a thousand times over to gain even a touch of what makes a good songwriter consistent. Only by doing these types of structural analysis and then trying to repeat it in your own compositions will you ever be worth a shit.

Does it seem like too much work?

Does it seem too analytical?

It is. But in time youll do it all procedurally. I dont even have to think anymore when i am trying to hear whats really selling beat and melody. IVe done it enough to where i can just hear almost any device as it is being used by the writer. And whats more interesting than that, i can hear how certain writers use certain devices to give their songs a "unique" stylistic element. But i couldnt always. It has taken years of really listening hard to things other than "guitar tones" and all the useless bullshit (im 26). So just keep trying and youll get there too. And youll be able to fix structurally weak elements in your own songs fairly quickly with enough practice.

Youll never be shit if you think an expensive mic or a state of the art medium makes great art.

Its the man behind it.

Some men can "fix" their talent shortcomings with shiny sounds and distracting production, but in the end it is just patchwork that only fools the other patchworkers. So rely on composition only. Every second you waste on worrying about production is a second you could have made a mental breakthrough in the realm of composition if you had been learning, studying, performing.

When are people going to learn whats really up? We have too much money in this country.
 
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