scrubs
Not of sound mind
AT4050
SP T3
Used KSM44
SP T3
Used KSM44
CoolCat
Well-known member
SP B1 upgrade Review Ad
what if I spend like $4,000? then it wouldn't matter what kind of microphone right? it would be better than a $3,000 German microphone..you know.
I don't believe in Ads..i mean Reviews.. unless they say positive things about the stuff I buy. hehehe
i wish I could afford a $6,000 microphone then I'd sound REALLY good!!
i'd probably never miss a note again!! dang, that'd be awesome.
one thread had everyone list their mic's...bery intyeretstin' ya. some had spent like $7,000+ or had like 20 mics! I did try to write down certain mics that were common and mid-cheap not -not-real cheap-not expensive-
good-cheap-stuff....
RESULTS in numbers: 88 threads- most common mics (for LD <$600 range)
AT total: 41
At4033-22
At404x-11
At405x-8
SP- 32 total
SP C1- 19
SP C3-9
SP B3-4
MXL- 32 total
MXL 67- 27
MXL 69-5
Down to these three flavors......AT, SP, MXL. Now to compare $,options etc..
any inputs welcome...is one better than the other for Male Vox??
I've never been in a studio or behind the glass, and have no idea how each sounds different.
<$600... back to reading.
Roll-Off is one new requirement, a Tube would be fun to try and Multi-pattern would be a learning expierience... I want a Male Vocal mic that makes me sound like Britney Spears.. is all.
acorec said:
what if I spend like $4,000? then it wouldn't matter what kind of microphone right? it would be better than a $3,000 German microphone..you know.
I don't believe in Ads..i mean Reviews.. unless they say positive things about the stuff I buy. hehehe
i wish I could afford a $6,000 microphone then I'd sound REALLY good!!
i'd probably never miss a note again!! dang, that'd be awesome.
one thread had everyone list their mic's...bery intyeretstin' ya. some had spent like $7,000+ or had like 20 mics! I did try to write down certain mics that were common and mid-cheap not -not-real cheap-not expensive-
good-cheap-stuff....
RESULTS in numbers: 88 threads- most common mics (for LD <$600 range)
AT total: 41
At4033-22
At404x-11
At405x-8
SP- 32 total
SP C1- 19
SP C3-9
SP B3-4
MXL- 32 total
MXL 67- 27
MXL 69-5
Down to these three flavors......AT, SP, MXL. Now to compare $,options etc..
any inputs welcome...is one better than the other for Male Vox??
I've never been in a studio or behind the glass, and have no idea how each sounds different.
<$600... back to reading.
Roll-Off is one new requirement, a Tube would be fun to try and Multi-pattern would be a learning expierience... I want a Male Vocal mic that makes me sound like Britney Spears.. is all.
Last edited:
kid klash
The original Mr. Nice Guy
COOLCAT said:
An SP B1 sounds too bright to you? Then try a darker mic on your voice, like the Oktava 319... they can be found for $50-$150, depending on where you find them. IF you decide to buy one, be sure to try it out first because they aren't very consistent. My hunch is that it will sound less "bright and thin" than any other mic mentioned in the thread so far. If it doesn't, then I'd be looking at the rest of your audio chain, as others have suggested.
B
baekgaard
New member
I have the B1, a C1 and a NT1000.
If you think the B1 is too bright, then I'm not sure you would like the C1.
I personally think all 3 are good value for the money, but I would, in your case, look for something of a little different flavour. There are also other good mics out there in the same price range. The C1 is nice and has it's own "sound" (as has the NT1000), but if you want something more tamed, consider some of the other proposals you've been given.
I am personally planning to audition an ADK Hamburg, which I think may be more of what you're after -- from how I've heard it described.
To some degree, it also depends on the preamp. But if you have a VC1Q, then you have a good starting point, I think. I guess it is somewhat coloured, and maybe a RNP or DMP3 would give you cleaner sound -- but save that until later, if you're otherwise happy with the VC1Q.
And don't forget you can do a lot with EQ: The Røde NT1000 sounds much more tamed if you EQ -1.5 to -2 dB around 5kHz. I happen to like that sound on some voices. You could try a similar thing with the B1 also.
Rgds,
-- Per.
If you think the B1 is too bright, then I'm not sure you would like the C1.
I personally think all 3 are good value for the money, but I would, in your case, look for something of a little different flavour. There are also other good mics out there in the same price range. The C1 is nice and has it's own "sound" (as has the NT1000), but if you want something more tamed, consider some of the other proposals you've been given.
I am personally planning to audition an ADK Hamburg, which I think may be more of what you're after -- from how I've heard it described.
To some degree, it also depends on the preamp. But if you have a VC1Q, then you have a good starting point, I think. I guess it is somewhat coloured, and maybe a RNP or DMP3 would give you cleaner sound -- but save that until later, if you're otherwise happy with the VC1Q.
And don't forget you can do a lot with EQ: The Røde NT1000 sounds much more tamed if you EQ -1.5 to -2 dB around 5kHz. I happen to like that sound on some voices. You could try a similar thing with the B1 also.
Rgds,
-- Per.
C
chessrock
Banned
M
Minker
New member
Cool Cat -- If you feel the B-1 is too bright, then I'd have to agree with kid klash and simply try a known darker mic. I've also heard about the Octava 319 for an inexpensive dark mic (but I never heard one). I was frustrated with my C1 because I felt it was too bright. After some research (and the wasted purchase of an MXL V67G) I decided on the AT 4047. Everything I read says it's the darkest of the AT mics. Well, talking from experience, it solved my brightness problems. It's common advice that technique is way more important than gear (you could try Harvey's trick with the pencil & rubber band to help) but believe me, the mic your using can make a BIG difference. I compared the C1 with the MXL V67 and the difference was subtle, but the 4047 is a huge difference -- took the shrillness right out of my vioce, and is nice-n-full. I know, I know (and so does everybody else) that to audition for yourself before you buy is best (I'd of saved a lot of $) but that's not always easy or possible. So we ask, and sometimes take a stab with our fingers crossed. By the way, I bought a 3Q and was very disappointed. I felt it contributed to harshness (and the compressor was intolerable) The VTB1 is warmer, and the RNP is better yet. You can get a new 4047 for $400. Maybe some of the other posters are right in that a preamp change may also help.
CoolCat
Well-known member
decided...on the SM 7
Thanks, the C1./Hamburg input is helpful. The "List your Mic" thread showed almost all of my respected "pros' having the C1...i was surprised.
Chess..the Radio Shackers...weren't on the list,
If I had more money I'd definitely check 'em out. thanks anyway!
(actually I have a very cool song of my brothers recorded with a Radio Shack mic...that is better than many I've heard on the web! he at least can play and sing...doh! )
I decided to go with the SM 7 because Chess guareenteed me I'd sound just like Michael Jackson. that was the clincher.
$329 at 8thStreet. When I heard the pro's used em and R&Bluesy type music and...Chess's input...Harevy Gerst recommended...
It sounded right for me, my music, and I don't have to FHK with the tubes and worryin about the kids messin' the ribbons up!!
and should have good resale 6yrs down the road...when I get gear-horny again.
SM 7.
p.s.
Joe Meek VC1Q - Channel Strip I'm ok with. One of the Channel Strips GREAT advantage for me was I can now avoid Menus on my 2488.
The problems I've encountered and concerns with the Joe Meek have been my fault/learning curve...it's not a push a button get "SuperNice" type unit.
...but it is used so there's always some "noise" concerns etc..I've owned the DMP3/RNC their nice...ok SuperNice.
when the Meek is "tuned in" it's breath taking in my opinion...luv it.
I can only imagine the sound of an Avalon and a good expensive mic.
....
baekgaard said:
Thanks, the C1./Hamburg input is helpful. The "List your Mic" thread showed almost all of my respected "pros' having the C1...i was surprised.
Chess..the Radio Shackers...weren't on the list,
If I had more money I'd definitely check 'em out. thanks anyway!
(actually I have a very cool song of my brothers recorded with a Radio Shack mic...that is better than many I've heard on the web! he at least can play and sing...doh! )
I decided to go with the SM 7 because Chess guareenteed me I'd sound just like Michael Jackson. that was the clincher.
$329 at 8thStreet. When I heard the pro's used em and R&Bluesy type music and...Chess's input...Harevy Gerst recommended...
It sounded right for me, my music, and I don't have to FHK with the tubes and worryin about the kids messin' the ribbons up!!
and should have good resale 6yrs down the road...when I get gear-horny again.
SM 7.
p.s.
Joe Meek VC1Q - Channel Strip I'm ok with. One of the Channel Strips GREAT advantage for me was I can now avoid Menus on my 2488.
The problems I've encountered and concerns with the Joe Meek have been my fault/learning curve...it's not a push a button get "SuperNice" type unit.
...but it is used so there's always some "noise" concerns etc..I've owned the DMP3/RNC their nice...ok SuperNice.
when the Meek is "tuned in" it's breath taking in my opinion...luv it.
I can only imagine the sound of an Avalon and a good expensive mic.
....
Last edited:
T
travelin travis
New member
just so you know, MF does allow return of mics. I returned one last week. I don't know why they do and everyone else does'nt. too bad they don't carry alot of the mics talked about in the forum though.
CoolCat
Well-known member
upgrading the SPB1
i know, the spoken policy is No Return due to health law....
but they've taken one back I returned.
i was just being honest and asked GC if could try out 2-3 mics, and they
quickly said NO CAN DO. maybe if i bought it and brought it back???
they did say i could try them in the store? but repeateing TEST 1,2,3..
isn't my idea of a good test-out.
SM-7 is being phased out per a store i just spoke with?
He looked em up he said.
maybe a good deal.
It's maybe a more difficult decision for me as I only have 1qty Vox mic
(financial limitations), it's not just another mic in the cabinet...
it will be THE Vox mic in my cabinet
...actually i don't even have a cabinet. maybe i should get a cabinet first?
List: ..splitting $100 bills at this point
AT40xx probably more well known
Studio Projects T3 couldn't go wrong it seems..Multi Pattern/Tube
CAD M9 little info..but caught my eye.. Tube/Multi Pattern...
Shure SM7 just sounded like a cool mic and cheaper with good resale,
and some really interesting threads out on the web...
one of those GO TO Mics,
that never makes the #1 pick,
but is thumbs up by ~100% of owners and built very well (kid proof).
Other mics there just isn't enough info for my purchase confidence.
.
i know, the spoken policy is No Return due to health law....
but they've taken one back I returned.
i was just being honest and asked GC if could try out 2-3 mics, and they
quickly said NO CAN DO. maybe if i bought it and brought it back???
they did say i could try them in the store? but repeateing TEST 1,2,3..
isn't my idea of a good test-out.
SM-7 is being phased out per a store i just spoke with?
He looked em up he said.
maybe a good deal.
It's maybe a more difficult decision for me as I only have 1qty Vox mic
(financial limitations), it's not just another mic in the cabinet...
it will be THE Vox mic in my cabinet
...actually i don't even have a cabinet. maybe i should get a cabinet first?
List: ..splitting $100 bills at this point
AT40xx probably more well known
Studio Projects T3 couldn't go wrong it seems..Multi Pattern/Tube
CAD M9 little info..but caught my eye.. Tube/Multi Pattern...
Shure SM7 just sounded like a cool mic and cheaper with good resale, and some really interesting threads out on the web...
one of those GO TO Mics,
that never makes the #1 pick,
but is thumbs up by ~100% of owners and built very well (kid proof).
Other mics there just isn't enough info for my purchase confidence.
.
Last edited:
M
mrface2112
Well-known member
DJL wrote: << I agree with wade, except the only thing I liked the SPB1 on was a guitar amp... infact, the SPB1 sucks eggs on vocals IMO>>
i wasn't going to go quite that far with it on vocals
, but like i said earlier, i've only found 1 vocalist where it was the "go to" mic. on everyone else, it just sounded "lame", or "thin" or "just not it".
i too have had good results with the B1 on guitar amps--i think that's where it shines. i also like it a lot on snare drum (where you can fit it in and can live with the bleed--and it works best aimed at the shell of the drum from a couple inches out), acoustic guitar, mandolin and as an drum overhead (although i find myself reaching for my V67 for that chore more these days). it works well as a general "room mic", too, where i want a somewhat unbiased result. it's not a flat mic, but to my ears and in my room, i've found that it tends to be "consistent" with regards to what i'm hearing with my ears.
suffice it to say that i've found the B1 to be a solid all-around workhorse that consistently gives me "usable" results on a variety of sources. it's rarely "excellent" and it rarely "sucks donkey balls" (as long as you don't sing into it). for only $80, i find that to be perfectly acceptable.
cheers,
wade
i wasn't going to go quite that far with it on vocals
, but like i said earlier, i've only found 1 vocalist where it was the "go to" mic. on everyone else, it just sounded "lame", or "thin" or "just not it". i too have had good results with the B1 on guitar amps--i think that's where it shines. i also like it a lot on snare drum (where you can fit it in and can live with the bleed--and it works best aimed at the shell of the drum from a couple inches out), acoustic guitar, mandolin and as an drum overhead (although i find myself reaching for my V67 for that chore more these days). it works well as a general "room mic", too, where i want a somewhat unbiased result. it's not a flat mic, but to my ears and in my room, i've found that it tends to be "consistent" with regards to what i'm hearing with my ears.
suffice it to say that i've found the B1 to be a solid all-around workhorse that consistently gives me "usable" results on a variety of sources. it's rarely "excellent" and it rarely "sucks donkey balls" (as long as you don't sing into it). for only $80, i find that to be perfectly acceptable.
cheers,
wade
CoolCat
Well-known member
Minker said:
M
Minker
New member
Cool Cat. Some folks say the 4033 is sorta bright. My friend let me take his mics (4033, pro 37r sdc, and akg 3000) to compare to my C1 a couple years back. I thought then that the C1 was smother than the 4033 (since the C1 was mine and the 4033 was his, my ears might have been looking to justify my purchase if you know what I mean) Plus I'm not sure if I knew what I was listening for back then(or now for that matter). My friend uses his 4033 as a single mic for live bluegrass, and I think that "brightness" helps to "not blur" all that stuff going on. My music is acoustic and sparse (just a few tracks). I started to notice that my tracks had a shrillness to them. I think a lot of people like mics like the C1 because they've got busy, rockin' mixes, and brightness cuts through better. The things I read singled out the 4047 from the rest of the 40 series, saying it's not as bright. Like I said before -- One thing I KNOW is that the shrillness is gone -- night and day. I too would love to try an SM7 -- For recording and live. Be nice to hear from someone who has the 4047 and SM7..
CoolCat
Well-known member
SM7 Good for a Noisy Room
I bought the SM7. $329- no one I called here had heard of 'em either.
the Audio Technica 4047 was next. thanks for the time.
deciding factor for me.....
1) AT is more sensitive to the room/reflections
2) SM7 is better in a noisy room
Don Danko thread: AT*****
I have always loved the AT40xx
series and the AKG414. The AT4033 are great mics just be careful in
placement (I'm sure the whole series of AT40xx mics are the same). The
backside is sensitive. If a window, wall or guest position is behind the
mic you will have some reflection issues. I wouldn't use it in that
environment BUT it would be my first choice in an ideal environment based on
price and sound.
*****SM7 ***************
JOHN PORTER
Los Microfones de Los Lonely Boys
With an awe-inspiring resume that includes The Smiths’ early albums, Bryan Ferry, B.B. King, Ozzy Osbourne, Ryan Adams and so many others, John Porter could well rest on his laurels, but instead he plugs on, still doing vital work. The L.A.-based Englishman’s latest hit is Los Lonely Boys’ self-titled album, which has produced the inescapable video hit, “Heaven.”
Porter is an old hand at recording vocals and for this project, which was cut at Willie Nelson’s Pedernales Studio in Texas (where the Boys hail from), he kept his recording approach simple. “I have some [Shure] SM7s, which I think are really great and they’ve saved me in all kinds of situations and with all kinds of instruments. They’re really suited to being in a room with a lot going on. And they sound great. So that was my mic of choice for the tracking dates. There was also an old tube [Neumann] 47 that was a favorite of Willie’s that I used a little. I had some baffles out in the room with them for some isolation, but they were right out there in the middle of it.” Porter says his vocal chain comprised “the SM7 into a Neve 1073 and an LA-2A or an 1176. I use very simple compression; I don’t use too much—I’ll go 3 dB at 3:1 or 4:1. And we used Pro Tools|HD.
Sometimes, too, if the singer wants to sing in the control room with the monitors blasting, I’m not averse to using a 58. But I’ll always put the SM7 up. I’ll put it up against the more expensive mics and it’s quite often the mic of choice.
**SM7******
also, all the Sheryl Crow vox on Globe Sessions were rec with a SM-7.. In the control room with the Monitors on..<p>Way Cool<p>Steve Smith
.
I bought the SM7. $329- no one I called here had heard of 'em either.
the Audio Technica 4047 was next. thanks for the time.
deciding factor for me.....
1) AT is more sensitive to the room/reflections
2) SM7 is better in a noisy room
Don Danko thread: AT*****
I have always loved the AT40xx
series and the AKG414. The AT4033 are great mics just be careful in
placement (I'm sure the whole series of AT40xx mics are the same). The
backside is sensitive. If a window, wall or guest position is behind the
mic you will have some reflection issues. I wouldn't use it in that
environment BUT it would be my first choice in an ideal environment based on
price and sound.
*****SM7 ***************
JOHN PORTER
Los Microfones de Los Lonely Boys
With an awe-inspiring resume that includes The Smiths’ early albums, Bryan Ferry, B.B. King, Ozzy Osbourne, Ryan Adams and so many others, John Porter could well rest on his laurels, but instead he plugs on, still doing vital work. The L.A.-based Englishman’s latest hit is Los Lonely Boys’ self-titled album, which has produced the inescapable video hit, “Heaven.”
Porter is an old hand at recording vocals and for this project, which was cut at Willie Nelson’s Pedernales Studio in Texas (where the Boys hail from), he kept his recording approach simple. “I have some [Shure] SM7s, which I think are really great and they’ve saved me in all kinds of situations and with all kinds of instruments. They’re really suited to being in a room with a lot going on. And they sound great. So that was my mic of choice for the tracking dates. There was also an old tube [Neumann] 47 that was a favorite of Willie’s that I used a little. I had some baffles out in the room with them for some isolation, but they were right out there in the middle of it.” Porter says his vocal chain comprised “the SM7 into a Neve 1073 and an LA-2A or an 1176. I use very simple compression; I don’t use too much—I’ll go 3 dB at 3:1 or 4:1. And we used Pro Tools|HD.
Sometimes, too, if the singer wants to sing in the control room with the monitors blasting, I’m not averse to using a 58. But I’ll always put the SM7 up. I’ll put it up against the more expensive mics and it’s quite often the mic of choice.
**SM7******
also, all the Sheryl Crow vox on Globe Sessions were rec with a SM-7.. In the control room with the Monitors on..<p>Way Cool<p>Steve Smith
.
R
Richard Monroe
Well-known member
I agree, keep the VC1Q, it's a very useful box. You want a new meek? Keep them both around. Your voice might benefit from a little color. I find AKG C2000B a gets-no-respect unsung hero. It's also a good acoustic guitar mic, especially on a thin voiced guitar. It's a great tom mic and an adequate overhead. Good on strings and brass. I find it colored, and usually flattering. Good for honky tonk piano, not Steinway Grand. $180 or so with the cool shock mount.-Richie
M
Mo-Kay
Dragon Soul Productions
What's with everybody knocking the B1?
A couple of years ago I used a NT1 on my first demo (small rental studio) , and now I own a B1 and I find it has a much warmer sound...more character.
Maybe it's my slightly different perspective...as I use it for rap vocals primarly, and not for singing
A couple of years ago I used a NT1 on my first demo (small rental studio) , and now I own a B1 and I find it has a much warmer sound...more character.
Maybe it's my slightly different perspective...as I use it for rap vocals primarly, and not for singing
M
Minker
New member
Cat-- I'm sure the sm7 is a great choice. I've never heard one myself, but that mic along with a pair of 603's are on my list. You'll have to let us know how it stands up next to your B1 -- if it takes you where you wanted to go.
noisedude
New member
As much as anything else, there's a lot of fashion. People like me need something to chatter about. People like Dot, Richie, Harvey etc are saying the same they always have. Those of us who pick something up and go "it's the best mic ever" without having tried all the others will never be able to provide such quality advice.Mo-Kay said:
Dot's opinion is just one man's ears, but at least he's listened to them all ... rather than people who've just heard one or two mics and need to write something hyperbolic to make their posts worthwhile.
Not pointing any fingers at myself ... or anything
C
chessrock
Banned
noisedude said:
I like to call it the hyperbolic density factor. Some people's posts go for all-out hyperbolic saturation.
Ideally, it's a good idea to practice hyperbolic moderation. And it isn't difficult at all. In fact, proper hyperbolic discipline is the easiest thing in the world to do. Easy as pie. In fact, I would probably say that nothing on this planet is easier than avoiding hyperbole. And nothing is healthier. Keeping hyperbole in check will take years off your life and will even improve your sex life.
Alright, this was like the dumbest post ever, wasn't it?
noisedude
New member
It started so well, too.
The SP B1 is certainly a mic that revolutionised the market for affordable LDCs. It's a proper mic rather than something one of the big companies threw out as a pacifier for the clamouring masses of wannabe recording musicians. As a result of mics from SP, ADK and, to a lesser extent, SE, the big boys are paying attention and putting some effort into their cheapies now. AKG wouldn't release another C1000S ... I reckon they only make it now because people still haven't wised up to there being better mics around now (same goes for the SM58).
Whether these smaller startups hang around or not is impossible to predict. I hope they do, because I want to see the next generation of mics that people like Brent Casey can come up with. But the lasting legacy of the mics we currently have will be in the end of the complacent approach companies like Sennheiser/Neumann, AKG and Shure have had towards the budget end of the market.
Alright, this was like the dumbest post ever, wasn't it?
The SP B1 is certainly a mic that revolutionised the market for affordable LDCs. It's a proper mic rather than something one of the big companies threw out as a pacifier for the clamouring masses of wannabe recording musicians. As a result of mics from SP, ADK and, to a lesser extent, SE, the big boys are paying attention and putting some effort into their cheapies now. AKG wouldn't release another C1000S ... I reckon they only make it now because people still haven't wised up to there being better mics around now (same goes for the SM58).
Whether these smaller startups hang around or not is impossible to predict. I hope they do, because I want to see the next generation of mics that people like Brent Casey can come up with. But the lasting legacy of the mics we currently have will be in the end of the complacent approach companies like Sennheiser/Neumann, AKG and Shure have had towards the budget end of the market.
Alright, this was like the dumbest post ever, wasn't it?
noisedude
New member
I should say that there is one thing in my own personal experience that sets a Studio Projects mic aside from, say, an SE Electronics one. Customer Service! It's ALL about customer care. When I bought an SE2200, I had to post the warranty card to the States ... now I know that situation has changed, but I never got any confirmation they'd received it or anything. I hope PMI can keep up the service that's made them famous as they continue to expand their line ...
Similar threads
- UNCTaylorplayer
- Microphones