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Re: AW: If you were going to buy just one Mic...
421s are nice. Great for toms, kick, guitar amps. I was once recorded on TV where they used a 421 on my acoustic guitar! I said to the sound guy, "This ain't gonna work" and he said, "Well let's just try it." It sounded incredible. Haven't tried it in my studio though. Haven't tried them, but Paul Smith told me the old white ones sound better. He has great ears. Spendy though.
421s are like SM 57s. When in a pinch, you can use them to drive railroad spikes and they still work afterwards. Something to consider if you're going to take the mic to live gigs or if you're using more lightweight or flimsy mic stands.
It all depends on how much you wanna spend. I really like the Neumann 105. Looks just like an SM58, is surprisingly rugged (I dropped mine on concrete and it still sounds fine), and sounds very good. I think they're somewhere in the range of $700 though. Needs phantom power. Not real familiar with the CHinese mic's but I've heard very good things from friends with golden ears.
Ruggedness is important. With the big diaphragm & expensive guys, when they hit the floor, quite often they're hosed.
My fave Sennheiser is the MKH40. Have only used it on acoustic instruments so far though. Fabulous for acoustic recording - cello, violin, acoustic guitar, banjo. Haven't used it for voice yet.
Being able to choose the patterns is nice, but you need an environment where you can really take advantage of that. Which means, a VERY VERY QUIET and controlled recording space. Omni always sounds so much better... but any extraneous sound can ruin the recording. But if you have the right space, a less expensive omni can sound much better than a more expensive cardioid.
Have heard some very nice vocal recordings done with the bigger Audio Technica mic's. Don't have any, though.
I think a great mic pre can make most any mic sound WAY better. For voice and Neve-ish clarity, I really like the cheap little Chameleon mic pre's. I like the Daking 4 channel for a maybe fatter colorful sound - nice for acoustic and electric guitars. 4 channels for around $1800. Not bad. And I've heard of some nice cheap tube mic pre's. Was it ART that made them?
Always the wise thing is to ask your dealer if you can take a few home and try them. They might ask you to pay for all of them which is fine as long as you can return the ones you don't like.
I can't remember the name, but there is a company that screens all the Octavias they sell. Haven't used Octavias yet but have heard very good things about them.
Have fun and enter the game slowly. It's a bottomless pit! And remember that some amazing recordings have been done with some pretty inexpensive gear. it's really all in the music. And your ears. If you have really great music and ears, an SM57 and good pre can take you at least to the next step.
7:50 - time to go be GrandDad Santa!
richard sales
glassWing farm and studio
vancouver island, b.c.
www.glassWing.com
www.richardsales.com
www.hayleysales.com
www.joannesales.com (coming soon!)
On 25-Dec-07, at 7:17 AM, andy butler wrote:
Talking about the Octavas:
I heard numerous reports of a high quality/parameter spread with the Octavas
- this is due to the fact that their electronic circuits are built with the
components which are just available at the time of build.
So you either have to get like 10 pieces from the shop and find which one is
best, or rely on a reseller which will replace the electronics.
yep, the 219s are very variable, due to the metal grid in front of the capsule.
The variability is more of an issue if you want a stereo pair.
...but I have 2 of the 219s, and 2 of the 012 sets with 3 capsules each they all sound pretty good.
The Sennheisers:
Personally, I only use one Sennheiser mic (e902, I'm more of a Beyer guy,
and that has also to do with the fact that their dynamic mikes are still
somewhat of a secret weapon, hence used prices e.g. for a M88N are in the
same range as those for a Beta58...), but this MD421 has an exorbitant price
tag - is it really that good?
Most studios seem to think they're worth the price.
In the 60's and 70's a lot of top vocalists used them, watch those old clips and whenever there's a great vocal sound it's usually from the 421. Wasn't it the Temptations who had gold plated 421s?
...and John Entwhistle used 421s on his bass cab.
...they were the vocal mics for the Grateful Dead's famed "wall of sound" pa
..but the point is, you can even use it on a kick drum.
So it's the only mic you can use on absolutely anything.
Oh, and thanks for the Beyer tip.
andy
Rainer
