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AT Home Studio Microphone?
- Thread starter ne_husker_fan
- Start date
I got enough gain from the 286A without maxing the input gain, but just barely.
Gain at "45", drive "4", density" at "3".
Now, I'm using an ART Tube MP SP preamp. It's inexpensive, but sounds very good
with the SM7B. I max out the gain, which saturates the tube.
No hiss, it's quiet. Might be too "thick" sounding for some. Works well for my mid-range
voice and female talent.
As you know, sometimes its just matching the right mic with the right preamp.
I'd rather play with different combinations from the inexpensive side of the menu.
But, everyone should own an SM7B.
Gain at "45", drive "4", density" at "3".
Now, I'm using an ART Tube MP SP preamp. It's inexpensive, but sounds very good
with the SM7B. I max out the gain, which saturates the tube.
No hiss, it's quiet. Might be too "thick" sounding for some. Works well for my mid-range
voice and female talent.
As you know, sometimes its just matching the right mic with the right preamp.
I'd rather play with different combinations from the inexpensive side of the menu.
But, everyone should own an SM7B.
surfdude said:But, everyone should own an SM7B.
Oh, I don't know about that! I never had any luck with the SM7B on male talent. I always thought the highs were a bit "splashy". Love it on females, but I'd much rather have a Sennheiser MD421 (if we're talking dynamic mics) on males. I do like the old SM5B, but it's not my top choice.
Emmett
surfdude said:I got enough gain from the 286A without maxing the input gain, but just barely.
Gain at "45", drive "4", density" at "3".
How do you have the mic set up? Low rolled off? High prescence boosted? Flat?
surfdude said:I run it flat with the highpass on the 286A "on".
Thanks! I'll give it a try.
The AT4040 and the DBX286 also make a good, inexpensive combo. I actually like the 286 for what it is. It’s a nice little box for the money. Its biggest problem that I've noticed is it's highly vulnerable to RF, making it useless around AM transmitters. (We have one here at our group of stations) But at home, it's a cool little box!
The AT4040 is another one of those bargain mics that sounds pretty expensive to me!
The AT4040 is another one of those bargain mics that sounds pretty expensive to me!
B
bobbybooey
Guest
I run a Marshall MXL 2001 through a dbx-286a and am very happy with the results. For an affordable start-up package it definitely does the trick. For my voice it does an admirable job of approximating the Neumann I used at a previous station. Though I must say this thread has piqued my interest in the Shure SM73.
I have an SE Z5600A that I run through a dbx166A. With the help of a set of pro ears that belong to someone else, we have been able to tune my system to a pretty good sound. I had been running eq, but have actually turned that off. I think I suffered from,"I want it to sound like it does on the radio" disease. It took me a while to actually come to grips with the idea that the producers need it raw so they can add the desired efx and so forth....
Nelz said:Has anyone tried a 286a and MKH 416 combo? If so, what did ya think?
I have. Plus a UREI 1176LN blackface added at the end.
Sounds pretty good.
For the money, $200 brand new, I think the 286a is a pretty good box.
With that said...I prefer the older Symetrix 528.
I believe VO Brian Christopher, not "bc", uses a RE27 to a dBX286a. Sounds pretty good. Then again, he's got some pipes.
HHalland said:What is this all about?
We're talking mics and pre-amps for home studios, and more. Best bang for the buck.
Hi Chuck..and all..I have to say that the MKH416 is really really good for working in a "roomy" room, and to notch out external noises like A/C fan noie etc..but it needs to be pointed in just the right way. I have been using our 416 mics for retail spots for car dealers and it cuts like a sharp knife..however the MKH is not a mic with a lot of natural low end. It needs to be "beamed" at the source of timbre..just below the chin works for me..It hits the adams apple, and picks up the timbre from the diaphram there..as it was never really designed for voice work.
For softer sell narrations and national TV spots and most radio imaging..I gotta tell ya that new Neumann TLM49 is a champ. We have two U47s here..one is a vintage with the VF14 tube and that squatty little 49 sounds real close on our applications. I did a shootout with that mic and the original U47 at a music studio in Nashville..THERE..the studio guys still liked the old U47 for it's fullness, and "air" on acoustic instruments and certain vocals but found it a lot noisier than the TLM49, and liked the TLM49 better on higher SPL sources..and at nearly 7000 dollars less..they concluded that it was an excellent value..and was far better suited to spoken word as it is more "moldable" as far as EQ and processing was concerned..and overall VERY close to the sound of the U47. I have to agree..and after returning with the vintage mic to NC I found that the VF14 tube was failing (thus, the noise). A 'USED" VF14 was purchased in Texas at 1200.00!! This crazy microphone is becoming rapidly harder to keep breathing. Power supply is now in need of a complete re-capping..This is getting old..but I'll keep reviving it as long as I can
So..we can knock ourselves out looking for the holy grail of mics, or get comfortable with the one that suits us individually. And mic placement really does make a huge difference.
For softer sell narrations and national TV spots and most radio imaging..I gotta tell ya that new Neumann TLM49 is a champ. We have two U47s here..one is a vintage with the VF14 tube and that squatty little 49 sounds real close on our applications. I did a shootout with that mic and the original U47 at a music studio in Nashville..THERE..the studio guys still liked the old U47 for it's fullness, and "air" on acoustic instruments and certain vocals but found it a lot noisier than the TLM49, and liked the TLM49 better on higher SPL sources..and at nearly 7000 dollars less..they concluded that it was an excellent value..and was far better suited to spoken word as it is more "moldable" as far as EQ and processing was concerned..and overall VERY close to the sound of the U47. I have to agree..and after returning with the vintage mic to NC I found that the VF14 tube was failing (thus, the noise). A 'USED" VF14 was purchased in Texas at 1200.00!! This crazy microphone is becoming rapidly harder to keep breathing. Power supply is now in need of a complete re-capping..This is getting old..but I'll keep reviving it as long as I can
So..we can knock ourselves out looking for the holy grail of mics, or get comfortable with the one that suits us individually. And mic placement really does make a huge difference.
Thanks Jeff for sharing your experience with the MKH 416. I'm just now getting to the point where I actually enjoy working with it. Because my voice is also on the low end, I need to try directing it below the chin to capture the natural low end. By the way, your production rocks.
Now I need to find a TLM49 to test out. I'm heading to Boston for a radio promotion this weekend. I'm hoping there's a pro-audio type shop with high end equipment. Anyone familiar with that type of store in Bean town?
nelz
Now I need to find a TLM49 to test out. I'm heading to Boston for a radio promotion this weekend. I'm hoping there's a pro-audio type shop with high end equipment. Anyone familiar with that type of store in Bean town?
nelz
I've used a friends TLM103, but the A-T 4047 SV that I am currently using, while not having the Neumann sound, definitely works for my voice.
It's not "warm" but it can EQ well and is pretty natural sounding. It's a huge step up from the black A-T's.
That's not to say the 103 isn't on the list of wants...
It's not "warm" but it can EQ well and is pretty natural sounding. It's a huge step up from the black A-T's.
That's not to say the 103 isn't on the list of wants...
V
voiceguy
Guest
Hi guys!
I've been a long-time proponent of my Sennheiser MKH 416 shotguns for at-home recording, due to the tight pattern, relatively small amount of additional processing needed...and the fact that it rejects so much extraneous noise, that a minimal amount of soundproofing is needed to get a great sound ( search a previous post of mine with links to pics of my home-grown VO "booth" ).
Anyway, I just wanted you all to know, that I just road-tested a pretty nice little mic, that's SIMILAR to the 416...now, I'm sure that others will say that it's not AS GOOD as a 416...and they'd be right.
BUT...it's REALLY CLOSE. It doesn't have the same output level, you need a decent pre-amp to get a really good noise-free level, BUT...with the roll-off switch engaged ( which the 416 doesn't have ), it's close to the "up-front" and "in-your-face" sound of the 416...
And here's the best part...it's $800 cheaper!
The mic is the RODE NTG-2
Again, it's NOT a 416...BUT...it has now earned it's home in my to-go studio kit...because it's rugged enough, and it sounds good enough that my clients haven't noticed a difference at all in sound-quality.
And as my 416 was an Ebay purchase, and it's already been re-built once, I don't want it going through anymore undue-bumping and bouncing...
And if it ever dies, the NTG-2 will make a wonderful backup until I get another 416.
So, I say, if you're looking for that tight-pattern sound, you might give this mic a closer look. There are other reviews I've read about it, and they said very similar things...with just a moderate amount of effort ( EEK ) you can really make this inexpensive mic a player in your studio.
Peace
mb
I've been a long-time proponent of my Sennheiser MKH 416 shotguns for at-home recording, due to the tight pattern, relatively small amount of additional processing needed...and the fact that it rejects so much extraneous noise, that a minimal amount of soundproofing is needed to get a great sound ( search a previous post of mine with links to pics of my home-grown VO "booth" ).
Anyway, I just wanted you all to know, that I just road-tested a pretty nice little mic, that's SIMILAR to the 416...now, I'm sure that others will say that it's not AS GOOD as a 416...and they'd be right.
BUT...it's REALLY CLOSE. It doesn't have the same output level, you need a decent pre-amp to get a really good noise-free level, BUT...with the roll-off switch engaged ( which the 416 doesn't have ), it's close to the "up-front" and "in-your-face" sound of the 416...
And here's the best part...it's $800 cheaper!
The mic is the RODE NTG-2
Again, it's NOT a 416...BUT...it has now earned it's home in my to-go studio kit...because it's rugged enough, and it sounds good enough that my clients haven't noticed a difference at all in sound-quality.
And as my 416 was an Ebay purchase, and it's already been re-built once, I don't want it going through anymore undue-bumping and bouncing...
And if it ever dies, the NTG-2 will make a wonderful backup until I get another 416.
So, I say, if you're looking for that tight-pattern sound, you might give this mic a closer look. There are other reviews I've read about it, and they said very similar things...with just a moderate amount of effort ( EEK ) you can really make this inexpensive mic a player in your studio.
Peace
mb
Alright Jeff (and other mic-a-holics)...
I've got another for you from M-Audio...The Sputnik!
http://www.m-audio.com/products/en_us/Sputnik-main.html
One review...
http://remixmag.com/recording_hardware/remix_maudio_sputnik/index.html
I've got another for you from M-Audio...The Sputnik!
http://www.m-audio.com/products/en_us/Sputnik-main.html
One review...
http://remixmag.com/recording_hardware/remix_maudio_sputnik/index.html
- Status
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