What Is The Deal With Mxl And Sp???

[wes480]

"And I repeat myself: if they were any good the rest of the industry would know them. "

Lots of people know them, don't fool yourself. The mics you mentioned have been the darlings of industry shows for the past year or so...

"If someone asked me what guitar to get for 90 bucks, I'd say dont...get something better"

May be good advice for a guitar...but, it isn't for homerecording. Why? Becuase for a newbie, they can get as good a sound with an SP mic as they can with a Neumann U87 (great mic, get one of those).

Recording has a lot more to do with how you use the gear, than what gear you are using. The best thing to do is just jump in. The great thing about the "revolution" is that for 1,000 bucks, you can be totally setup with a soundcard, and a few good mics...that will let you get 85-90% of a "pro" sound. Now...that last 10% is what really makes a difference....but, it's also the % that is the hardest to take advantage of...

So, where do you fall? Do you want a learning mic, or do you want a real mic?

All of the "name brand" stuff you mentioned, as being respecatble....is in the same league with SP and Marshall, sorry. And, any of the customer service is going to be orders of magnitude worse than Alan's. (lots of people know him too, btw).

Why don't you try and listen to the mics side by side? Hell, I have heard Alan say before that certain vendors will let you try out an SP mic for a few days, and return it if you are not happy (though I am not putting words in anyones mouth). Bottom line is, the "name brand" mics you mention are still in the budget range...and, the opinions of a lot of people on this board say that the SP or Marshall sounds as good or better...

I am not knocking any of the mics you mentioned (except the shure...I don't like it)...but, I am just letting you know you are being a bit irrational.

If you think that SP and Marshall are "rigged up in the basement", then you are wrong. In fact they work with a lot of the same facilities that Rode and others use.

Look at Rode mics, if you want something a little more mainstream, as mentioned. NT1000 or NTK...awesome mics.

If I could get any mic right now, it'd be a Studio Projects T3 - read some of the reviews on THAT and tell me its a cheapo mic. Costs around 600-700, but...used to be 1,000...recent price drop.

Anyways, stick around or don't, but just know that the views you hold are not based on fact.

 

[jitteringjim]

Yeah, well...

I guess I apologize for being crass *fearing death by blunt force trauma from spectre's new U47*

Wait!! Holy Shit!! I missed this line!! (Then again, I am an Idiot.)

for newbies, what about the LD condensors.......AT30335 ($200), ksm27 ($300), nt1 ($200), C3000 ($300).

Dude! I'll sell you MY NT1 - I'll even cut you a fantastic deal so YOU won't feel like a moron when you sell it for an MXL or SP mic.

 

[Harvey Gerst]

If these were such great mics I think they would be more readily available....

for newbies, what about the LD condensors.......AT30335 ($200), ksm27 ($300), nt1 ($200), C3000 ($300).

I've tried the Rode NT1 and I originally owned the AKG C3000 when it sold for around $850. I found them both too harsh sounding for a lot of common studio microphone tasks. With the exception of two recording sessions, the AKG C3000 sat in my mic closet for about two years without being used on a session, even though I would try it on many sessions. I finally sold it to somebody for $100.

If you don't find the harsh treble on the NT1 and the C3000 to be a problem for you, go for it. I'm not sure which AT mic you're referring to, the AT 3035, or the AT 4033. The 4033 is not a large diaphragm condenser mic; it has a 5/8" capsule. The AT 3035 is a large diaphragm electret mic, but I haven't heard it, so I really can't comment on it.

The Marshall and SP mics go thru several more stages of quality control than most of the other Chinese mics, which insures a higher level of consistancy between units. While I like many of the Marshall products, I don't find the MXL-2001P or the MXL-600 to be a very good value, nor do they sound good to me.

To my ears, the Marshall MXL-2001P is very similar in sound to the Rode NT1, and they share the same Chinese capsule.

The SP mics have been a consistently good value for the money, but all this is just "in my opinion". Should "my opinion" mean anything to you? Maybe; or maybe not. If you have extensive experience in microphone design and evaluation, go with whatever your own ears tell you.

Last year, I did a pretty comprehensive testing on all the Marshall mics and I found the V67G and the 603S to be outstanding values for the money. As a result of my tests, a lot of people have purchased those microphones and gotten similar results. Al Schmitt, eleven time Grammy winning producer / engineer has a pair of each and likes them very much, and he's a primary Neumann endorsee.

The fact that you can't find some brands at Guitar Center is not surprising; try to audition a Soundelux ELAM 251 or a Klaus Heyne's Brauner VM-1 at Guitar Center. They also don't carry a Weiss EQ, a GML 8200, or the Manley massive Passive EQ. They do however, carry Behringer and Alesis EQs.

What you choose to buy will still have to be your decision. The facts that you base your decision on can come from many sources: your own listening tests, the tests and recomendations of others, advertising, salesmen recomendations, and magazine reviews. How much you add weight to each of these sources to make your final purchasing decision is up to you alone.

Good luck with whatever you decide to purchase. I can only tell you what I found to be true - for my needs, based on my experience. If my findings are contrary to your findings, I suggest you buy the mic that works best for your needs, based on whatever critera you choose to use.

 

[Lt. Bob]

Oh man...unfortunately for me I bought a NT-1 and a C3000 before I started coming here. Talk about bad decisions. But I can't afford anything else so what should I do...quit recording 'till I get something else? Hell No! We all know that the gear is secondary to the creative process, or it should be. So I'll just do the best I can with what I've got untill I can afford something better. Hmmm...V67G or 603S you say......

 

[knownuttin]

Hey Lt. Bob! Sell 'em to spec!
-kent

 

[dragnalus]

eh...i know this has been covered before, but could someone please quickly tell me why i would be better off getting a v67g than the regular v67?

 

[Lt. Bob]

Hey Lt. Bob! Sell 'em to spec!

I think we have workable concept here. What about it Spec., you want these mics? (oh please say yes )

 

[kristian]

i tell everyone to get an AKG C414 - i love mine , but most people don't follow the advice. its really nice, i sleep with it at night because it makes me feel warm and fuzzy inside.

 

[battleminnow]

Hey Dragnalus...

You wouldn't. They are the same mic internally. Some people just prefer the green and gold to the black on black, and it looks like a C12. If you are persistent, you can get someone to pricematch the G to the M. Took a while, but I got the G from SamAsh for $105 shipped.

Pete

 

[Harvey Gerst]

At the time I listened to them, the V67G WAS the "regular" model, and those are the two units I purchased. Later, when Mars became a dealer, they introduced the V67M, which is identical, AFAIK.

 

[dragnalus]

ahh, thanks. sorry to be so off-topic...

 

[willeycr]

If you have an unlimited budget I can suggest several mics that would be great for you. Truth is, most of us here are on a limited budget. Some very limited. I've enjoyed a pretty healthy budget but still not willing to part with $2500 for a mic when I'm still using a $250 mic pre. I come here with the sole purpose of getting information on "good" gear NOT "great" gear that I can put in my studio. I'm still working on Cubase and interesting ways to utilize the equipment I have. You should do the same. Information is what you do with it.

Oh, by the way, if you depend solely on this forum to make your decisions your crazier than your first post makes you out to be. Ask around, read something, do a little work if you want to fully understand how to record great tracks.

 

[knownuttin]

Hey, Kristian. Is that the BULS or the TLII you got there?

And, uh, what are you doing with it, or do we really want to know?
-kent

 

[kristian]

AKG 414buls, its great. I don't know how to describe how nice things sound with it. I mean not "nice" but versatile, its only one flavour, but it makes it easier when its my only mic that i can work with in omni and cardiod mainly. I've tried some crazy stereo patterns with figure 8 and my matched pairs of Crown CM700s but i don't think i set the mics up right. I would sell my left nut for another one right now so i could use them as overheads in omni on a drumkit im about to record.

Up close to an acoustic guitar, i mean CLOSE miced in omni it kicks ass. I didn't think omni was anything until i bought this. You can sing about an inch from it, and it picks up every details minus pops and plossives. I originally became interested in it a couple years ago when i was recording at a real studio, and for the first time i was given this mic to sing through, it suited my voice VERY well, and thats one reason i bought it. But from what i've done with it, its suited my "clients'" voices well as well.

With homerecorders, i think the problem is that they buy a $200 mic and then get bored want something "better". then go out and spend $300, thats already more than i paid for my C414 used. Now they have two bottom feeder mics that are OK, while i have one multipattern BEAST of a mic. Think about the future, if you are in this for the long run you will be happy. If this is a passing fancy, then you will waste a bunch of your money no matter what you buy.

 

[knownuttin]

Oh feck, I mean, lovely! I wondered because I've heard even better things about the TLII.
-kent

 

[trebles]

I think he has gone now guys

 

[kristian]

I've never heard a nice thing about the TLII, the only thing I've noticed is that studios don't have them . I couldn't tell you why because i haven't used them, but i assume that means something.

 

[Richard Monroe]

flaming mics

Spectre, you really need to switch to decaf and stop reading tech sheets for a while! Forgive me for going a little off subject here, but that's already been done, and maybe when y'all get done flaming each other, we can talk about mics. Yes, we all have preferences. I use AKG's and Oktavas because they're the best mics I can afford right now, and despite their industry-standard status, I don't like sm57's (so shoot me). You know, I could've walked into a pro studio and paid by the hour to record my first album after 30 long years in the business, but I wouldn't get to keep the toys, and I wouldn't have learned a damn thing. Instead, I've spent months reading tech sheets and user's manuals and auditioning everything from Radio Shack to B.L.U.E and Neumann, from ART MP to Avalon, and you know, I'm having more *fun* than I've ever had in those long years.
Yes, I'm a newbie at recording. The last time I recorded in a home studio, we thought a Revox 4-track reel-to-reel and Jensen triaxials were pretty cool. Imagine me reading through the user's manual of a Korg PXR4! I came to this BBS because I thought some of the nice people here might help me if I didn't piss them off! And you know, they already have. If nothing else, they've suggested I should audition some low end mics. You see, I have 2 projects. One is to record my first album (finally) with some hand picked badasses for overdubs, and for this, I hired an engineer, and I'm afraid he needs the best mics, pre's, etc. my modest budget can afford. The other is to learn to use my toys (tools) the best way I can, and I'll take all the help I can get.
My impression is that you have paid insufficient dues to name-call people you don't even know, and you will not gain their help by pre-judging them. Several of you are guilty of this. You know, among my multiple, competent, qualified, engineering advisors, one of them actually works for Guitar Center! Andy Ryder at the Framingham, Mass GC has been instrumental in mapping out patch bay arrangements, and has taken a whole lot of time explaining head room, dithering, standing waves, well, you get it.
Yep, I have met incompetents and jerks at GC, MARS, etc., but you know, because of his service and his ears, Andy Ryder may very well get the remixing and mastering job for this sucker at digitrax (his personal business). Spectre, I'm a prosumer. If I do well with a first album, I might get to be a pro before I die, more likely a producer than a performer. If you want input on any mic you can imagine, someone here will give you some. I have found that home recording people have different problems and solutions
than pros. I needed 3 channels, but I have 2. Gee, a POD PRO is a preamp isn't it? Look ma, no phantom power. Well, an AKG Solid Tube has it's own power supply... sorry, I started discussing mics again. I'll stop now, I just want you all to think about how useless
ranting is in the process of improving your sound (and mine).
Try Playing Nicer,
Richie

 

[jimistone]

spectrewhite

i would suggest you get a top of the line neumann mic and let stephen paul give it a workover.

there ya go...a name brand mic recomendation

 

[crawdad]

Good take Richie! NO---excellent take. Its nice to hear about someone with a passion, curiosity and desire to learn for himself--one who appreciates the help and advice of others rather than go off like a Doberman on downers before anyone can get a word in edgewise.

I have had mixed experiences with Mars and Guitar Center employees. Some are up on things, but most aren't. I think back to the day I had to explain the features of a mixing board to an employee at Mars who was working the sound department. Kinda scary. On the other hand, I have a couple of friends who work at Mars and they are extremely knowledgeable in their respective departments.

In music stores and BBS, we'll run into all kinds--from the know it all to the total idiot. I guess the moral is pick your people well and lend a hand to the ones who need it, when ya can.