Ok, here they are and what I've found about them:
2 AKG D690's- My standard live vox mic. Much better on my voice than any Shure dynamic, including SM7. Auxiliary mic for toms. Wicked cheap.
2 Shure SM57's- snare, talkback, occasionally cabs
1 Shure SM7B- My main mic for cabs, usually along with a condenser. Somebody's vocals, not mine. Also toms, djembe, doumbek, zarb.
2 matched Oktava MC012's- Overheads, remote stereo recording.
2 Behrenger ECM8000's- Pretty much nothing, on loan to my financially strapped drummer for cheap overheads.
1 Oktava MK319- Somebody's vocals, not mine.
1 AKG D112- kick, double bass, along with a condenser, some cabs.
1 AKG C2000B- almost anything. Some vocals, harp, toms. A versatile workhorse mic, now used much less because of the following-
1 AKG C414B-ULS- Simply a great instrument mic for acoustic, mandolin, viola, piano, harp, killer on toms. I want another!
1 Rode NTK- Vocals only, my choice on about 1/3 of my own vocals. A no brainer for stuff that's bluesy.
1 Studio Projects C3- Occasional vocals, especially rock. Now used much less because of the following-
1 B.L.U.E. Kiwi- Aside from the obvious main vocal mic. good ambient (room) mic, great on harp, woodwinds, strings. A truly great mic, a little bright.
1 Studio Projects B-1- Another workhorse mic, although I prefer C2000B with it's pad and bass rolloff. B-1 is another mic that is seeing less duty as it's functions are replaced by C414B-ULS.
1 Shure SM82- Last but not least, a little known sleeper that few have ever used for music recording. A line level cardioid condenser broadcast mic with a built in pre and limiter, this is one cool mic. I used to jack it into a phantom power adaptor, then into the line level in of my pre. Now I use the 50 ohm impedence input setting on my Avalon, and I can lose the (somewhat noisy) phantom power adaptor. This mic is a little noisy, I presume because of its preamp, but God it rocks on acoustic and vocals if you can stand still. It's pickup pattern and proximity effect are very clearly defined, and small movements can create significant output variance. It works excellent on rhythym, with acoustic lead overlayed with the C414. It's sensitive, but with very little reach, and rejects almost anything that isn't right in front of it, but whats in front of it is sent out hot as hell. A great guitar mic, not as good on cabs. It doesn't respond well to high SPL's.
Last, what would I add th this? The short list- another C414, maybe a TL-II. B.L.U.E. Cactus. a Beyer ribbon mic, Neumann U47, older, not a new one, Sennheiser MD441.-Richie
