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Best production mics for 2012?

Neaumann 87..used a couple at both the Small and Large studio at the "Sound Shop" in Nashville..also at Ray Benson's "Bismeaux" in Austin and Willie's studio at his compound outside Austin near White Cliffs, so I got one for voice work and it is, hands down, The Best, IMO.

Pricey..but, if you want superb quality..organic and digital... I haven't found better. Hope that helps.
 
The Brauner Phantom C won the race against the U87 in a review i read awhile back, and it's less expensive that the 87.Maybe Jeff can chime in.I really like this mic and i've used the 87 in a recording studio.Another mic,Shure KSM 32 is decent as well.
 
Well here it is October. I got a bug to revamp our mic chain. (yes again) and wanted as much of a USA made lineup starting with the mic. I am most pleased with Gene Lawson's L47-FET as a cost effective and very very clean, and punchy mic. These have been in use in three studios now for 6 months. Just awesome mics. We even have US made preamps, EQ, and processing as well as consoles. Our computers are USA "assembled" if that counts much. Most components remain of Asian descent. I think the Delta 44 sound cards might have some domestic origin..but in two cases we are using Audioarts Air-1 USB consoles made in North Carolina and they have an on board USB interface..they are terrific!
 
Any love for the CAD E100S around here? US built, under 400 price, tight pattern and low noise.
 
Lamont Lester said:
Any love for the CAD E100S around here? US built, under 400 price, tight pattern and low noise.
Click to expand...

US made-ish. Chinese parts assembled in the US. I wasn't a fan of CAD when they actually were made in the US. Still really am not.
 
Jeff Laurence said:
Is that the old Astatic plant?
Click to expand...

I think so Jeff. CAD owns the Astatic name. Back about 15-20 years ago, they tried to market the Astatic brand to the music industry, but it didn't go over very well. The old crystal "bullet" mic was the most popular, but only with harmonica players.
 
We added a Sennheiser shotgun mic MKH 416 to my studio last year and I love it!
 
CasualMat said:
We added a Sennheiser shotgun mic MKH 416 to my studio last year and I love it!
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What do you love about it? I've never worked one so I don't have a feel for the thing. From the various discussions I read I get the idea that it is great for situations where there may be some competing noise that the announcer needs to overcome, to over-shadow.

If I have a quiet studio, a studio that does not have slap-back, reverb and other nasties I am trying to overcome, why would I put that particular Sennheiser in my room? Does it flatter certain voice styles... even when the reflectivity is not all that essential?
 
It's simply a very flattering mic. That's why it's used so heavily. The fact that it's forgiving of room noise is an extra bonus.
 
Charlie Van Dyke uses a RE20. Then again CVD could talk through a tin can and make it sound good.


@ GRC... the shotgun mic, essentially credited to Ernie Anderson for VO use (see Youtube) in the 60s/70s, is directional, has a tight low end and due to the tight pattern has a compression quality built into it. It also rejects most background noise and can handle high SPL. A favorite mic for locations shoots. TV and film use the 416, often seen on a boom.

And, it requires little to no EQ.

The 416, arguably, has "beaten out" the U87 in L.A. as the go to mic for promo and trailer.

Now, many studio engineers aren't fond of the 416 as it can be brittle for some voices. And again, the easy to EQ statement/argument for lazy producers.

Personally, for me.. I love the 416. I've had Neumann's, Rode's, Soundelux and others. Always go back to the 416. in fact, I own two. One for work one for home.

For me now it's about the pre. Looking at either a BAE 1073MP or.... getting a UREI 1176 to pair with an existing pre.
 
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