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End of Year MIC SURVEY!

J

jefflaurence

I was re-reading a lot of posts regarding microphones, and who likes what etc..from 2005 to now. A lot has changed as far ass opinions go. For 2009..who likes what? I can honestly ssay that I have found and have stuck with TWO mics that fit perfectly..and I tried almost everyone there is. With two land based studios we need to get TWO of everything so price is a consideration, and the REAL (VF14 Telefunken/Neumann) vintage U47 was way too hard to keep matched in both studios so we needed to retire those to a collector in Japan. Made enought to help finance the new studio in suburban Atlanta in 2006. Then the little studio in the motorhome needed a specialty mic that was moldable with VST plugins. So after all the trial and error, and trial and maybes we have two that we like a lot, and have stuck with them for ALL sessions including the national stuff, and regional retail work..ONE is a tube LDC..the other is a condenser P48 LDC. They can be made to sound similar or completely different.

What do you folks find to be THE MIC OF CHOICE? And do you still use an outboard processor or have you moved to doing processssing (when needed) within your DAW?

Happy Thanksgiving..seems kinda quiet around here.

JL
 
Yo NFVG,

Not a voice talent, just curious about an old classic mic.

How does the RCA 77DX ribbon stack up against all the
newer tech mics you have/will discuss(ed) in this thread?

I suppose they are rare, hard to find, and/or in disrepair
these days.
 
I swear by my Sennheiser 416. I've had it for 5 years and will never sell it.

I've purchased (on back order) the inexpensive Marshall MXL 960 tube. I've purchased a Telefunken tube for it. Looking forward to trying it out.

Would like to get the Bock Audio (Soundelux) U195.


I prefer to employ outboard processors; Avalon M5 & dbx286a are my present chain.

I record VO tracks into Adobe 1.5 then tweak with Waves plug ins.
 
Well, this year I went from a Neumann TLM 103 to a Sennheiser 416 to a ADK Hamburg II au then a Telefunken AK47. Then bought a Neumann U87 and didn't really care for it on my voice. I FINALLY settled with a Gefell M930. I was using the Manley Voxbox, but went to a GML 2032. I've paired that with a Neve 5043 Compressor. So for now, my chain is the Gefell M930 - GML 2032 - Neve 5043. I also have a Blue "Bluebird" as a backup for now in case something goes wrong with the Gefell.
I was able to return the AK47 to Mercenary, but I sold the Sennheiser, TLM 103 and ADK. I still have the U87 and Voxbox for sale.
 
I'll have more opinions in a few months. I've accepted a Sales Engineer position with Sweetwater and will be selling by May. That also means I'll have the chance to work with every mic/preamp/processor combination I've ever dreamed of. I will continue to test and post my opinions if they change.

In the meantime, I still think Audio-Technica represents the most bang for the buck, followed closely by R0DE. The Audio-Technica 40 series just sounds outstanding. I still love my 4040. The 4047 and 4060 both have a wonderful sound and the build quality is exceptional throughout the 40 series. I'm not quite as floored by R0DE, but I still think very highly of them.

I continue to use my Focusrite Voicemaster Pro, followed by a DBX 266XL in serial, for triple-stage expansion. I top it off with a touch of EQ on my Soundcraft M-Series mixer. A/D conversion is also handled by the Soundcraft and sent via S/Pdif to my DAW.

I also run a second output from the Voicemaster into a vintage DBX 166. That leads to a second channel on my mixer. I apply heavy compression and EQ, so I can get that ballsy 'radio' sound, just by switching channels. I don't use it often, but it's nice on occasion.

I really like API and John Hardy preamps too.

Emmett
 
Nice job Emmett!

I've posted a few times on my favorite mics...

Most of the time, I like to go for the budget mic category...I do like to get nicer mics...but so far, the more I've spent on mics, except for the venerable 416, I've been roundly disappointed.

I can tell you this...I've recently turned to a couple of mics for my day-in-day-out mics...

If you've always wanted a 416, but didn't want to shell out the $1K + to get one, you're FINALLY in luck.

In my never-ending quest to find the "budget" version, I've actually FOUND ONE...and frankly, I like it BETTER.

The RODE NTG-3. It's great. Virtually identical in spec to the 416...only with a slightly wider pickup pattern. In a blind sonic-quality shoot-out, you can't tell much of a difference in the way the NTG-3 sounds vs. the 416. And here's the best part. You can get it for just under $600 at most retailers!!

As for a Large Capsule mic, I'm a big fan now of the MA-201 FET from Mojave Audio.

Nice, round sound...it won't work for every voice, but it seemingly works for mine.

I'm planning on picking up one more mic for '09...Hopefully, one of the R-F-T AK-47s. They seem to be just about what I'm looking for.

I've also heard good things about them from some fellow voiceover guys...

I'm sticking with my present processing chain for as long as I can. I've got the simple, True P-2 Analog Mic-Pre, into a Distressor from Empirical Labs for just that little bit of "somethin' somethin'."

I process a bit in ProTools/Logic/Nuendo...mostly Waves plugins...

Everything goes into an Apogee Ensemble Firewire Interface to my Mac. Then I SPDIF out of that to an MBox for ProTools ( when I need to do a live session via Source Connect ), and then depending on the day, I'll record in Logic or Nuendo to make full use of the Ensemble's converters.

Rock on y'all!

Mike Bratton
 
Currently, RODE NT1A through a parametric EQ. Clean, low noise, tailored
to type of project.

Low budget find of the year - ART Project Series USB pre-amp. Sounds very good. Requires no drivers.
Hi pass filter, impedence select. $99! Great for the road.
 
voiceguy said:
Nice job Emmett!

I've posted a few times on my favorite mics...

Most of the time, I like to go for the budget mic category...I do like to get nicer mics...but so far, the more I've spent on mics, except for the venerable 416, I've been roundly disappointed.

I can tell you this...I've recently turned to a couple of mics for my day-in-day-out mics...

If you've always wanted a 416, but didn't want to shell out the $1K + to get one, you're FINALLY in luck.

In my never-ending quest to find the "budget" version, I've actually FOUND ONE...and frankly, I like it BETTER.

The RODE NTG-3. It's great. Virtually identical in spec to the 416...only with a slightly wider pickup pattern. In a blind sonic-quality shoot-out, you can't tell much of a difference in the way the NTG-3 sounds vs. the 416. And here's the best part. You can get it for just under $600 at most retailers!!

As for a Large Capsule mic, I'm a big fan now of the MA-201 FET from Mojave Audio.

Nice, round sound...it won't work for every voice, but it seemingly works for mine.

I'm planning on picking up one more mic for '09...Hopefully, one of the R-F-T AK-47s. They seem to be just about what I'm looking for.

I've also heard good things about them from some fellow voiceover guys...

I'm sticking with my present processing chain for as long as I can. I've got the simple, True P-2 Analog Mic-Pre, into a Distressor from Empirical Labs for just that little bit of "somethin' somethin'."

I process a bit in ProTools/Logic/Nuendo...mostly Waves plugins...

Everything goes into an Apogee Ensemble Firewire Interface to my Mac. Then I SPDIF out of that to an MBox for ProTools ( when I need to do a live session via Source Connect ), and then depending on the day, I'll record in Logic or Nuendo to make full use of the Ensemble's converters.

Rock on y'all!

Mike Bratton
Click to expand...


Hi Mike

What about that Kel mic you bought early in the year? Still using it?
 
Emmett said:
I'll have more opinions in a few months. I've accepted a Sales Engineer position with Sweetwater and will be selling by May. That also means I'll have the chance to work with every mic/preamp/processor combination I've ever dreamed of. I will continue to test and post my opinions if they change.

In the meantime, I still think Audio-Technica represents the most bang for the buck, followed closely by R0DE. The Audio-Technica 40 series just sounds outstanding. I still love my 4040. The 4047 and 4060 both have a wonderful sound and the build quality is exceptional throughout the 40 series. I'm not quite as floored by R0DE, but I still think very highly of them.

I continue to use my Focusrite Voicemaster Pro, followed by a DBX 266XL in serial, for triple-stage expansion. I top it off with a touch of EQ on my Soundcraft M-Series mixer. A/D conversion is also handled by the Soundcraft and sent via S/Pdif to my DAW.

I also run a second output from the Voicemaster into a vintage DBX 166. That leads to a second channel on my mixer. I apply heavy compression and EQ, so I can get that ballsy 'radio' sound, just by switching channels. I don't use it often, but it's nice on occasion.

I really like API and John Hardy preamps too.

Emmett
Click to expand...


Hi Emmett... you've heard my tracks. Of the AT 40s which do you think might be a good fit?
 
..Still using the Neumann TLM-103, through a True systems P-solo (a great pre for the $$) then thru a dbx-286 with just a trace of compression; I use it mostly to help with room noise..

Mike Bratton; Thanks for the tip on the Rode ntg-3, I've always wanted a 416, but it's out of my price range..do you stll like your Kel-audio
mic??
 
VODood said:
Emmett said:
I'll have more opinions in a few months. I've accepted a Sales Engineer position with Sweetwater and will be selling by May. That also means I'll have the chance to work with every mic/preamp/processor combination I've ever dreamed of. I will continue to test and post my opinions if they change.

In the meantime, I still think Audio-Technica represents the most bang for the buck, followed closely by R0DE. The Audio-Technica 40 series just sounds outstanding. I still love my 4040. The 4047 and 4060 both have a wonderful sound and the build quality is exceptional throughout the 40 series. I'm not quite as floored by R0DE, but I still think very highly of them.

I continue to use my Focusrite Voicemaster Pro, followed by a DBX 266XL in serial, for triple-stage expansion. I top it off with a touch of EQ on my Soundcraft M-Series mixer. A/D conversion is also handled by the Soundcraft and sent via S/Pdif to my DAW.

I also run a second output from the Voicemaster into a vintage DBX 166. That leads to a second channel on my mixer. I apply heavy compression and EQ, so I can get that ballsy 'radio' sound, just by switching channels. I don't use it often, but it's nice on occasion.

I really like API and John Hardy preamps too.

Emmett
Click to expand...


Hi Emmett... you've heard my tracks. Of the AT 40s which do you think might be a good fit?
Click to expand...

Well, I'll start by saying that I don't like many modern tube mics. Originally, tube mics weren't intended to be 'warm'. They were just supposed to sound good. Makers tried to avoid the distortion associated with tubes, but a little got in and it was pleasing to the ears. Modern tube mics, on the other hand, are made to distort so they sound fuzzy like vintage mics. Unfortunately, a lot of them overdo it and sound gimmicky. The 4060 is an exception. I get the feeling that the tube wasn't used to create 'warmth' in this model. The mic was made to sound as clean as possible while using tube technology. The result is a mic that sounds brilliant, like a modern mic, but has a very slight fullness from the tube. It's a very good sounding mic, but it sounds more like a quality solid-state mic than the tube mics we're used to hearing.

I really like the 4047 too. It also sounds modern, but with a taste of vintage character. It's one of those mics that sounds good on absolutely everything. I have a friend who has nearly stopped using U87's for music recording because he's found that the 4047 sounds better on everything except cello and acoustic bass.

Stay away from the 4040. I love mine, but it can be muddy on deeper voices. It's a really good mic for an 'average' voice. Flat would be inaccurate, but 'neutral' is a good way to describe the 4040. It has a little bit of sparkle and punch, but it doesn't sound hyped at all.

Emmett
 
This is a quick reply to Bob and VODood...

I DO still have the Kel...and I DO still like it.

I just don't use it as often. I like it fine...mainly put it up for narrations and things like that.

I went back to my 416 mid-summer...and then it started getting noisy.

That's when I picked up the NTG-3...I'm thinking about getting another one just to use as a mic on the road.

mb
 
416 on everything. I used to substitute the U87 or TLM103 to do narrations, but now I do that only if the client requests it. And if they do request anything, it's the U87. I think it makes them feel safe. And it's only happened once in the last 3 years. I have many other mics, but they are all just ornaments since I got the 416 more than 8 years ago.

JJ
 
Emmett said:
I continue to use my Focusrite Voicemaster Pro, followed by a DBX 266XL in serial, for triple-stage expansion. I top it off with a touch of EQ on my Soundcraft M-Series mixer. A/D conversion is also handled by the Soundcraft and sent via S/Pdif to my DAW.

Emmett
Click to expand...

Emmett--

Are you satisfied with the A/D conversion of the Soundcraft? I went with a low-end Lexicon USB device which handles the A/D conversion and gets the audio to my PC via USB, and I'm really wanting to clean up and improve this sound.
 
Satisfied, yes. Thrilled? No. Its quality is typical of a quality soundcard or USB interface, but nothing high quality like a standalone Apogee or similar. It's hard to benchmark it because the DAC outperforms the analog front, which cannot be disengaged. Not bad, but not exceptional.
 
Haven't used it...But my opinion of Soundeluxe is neutral. Not unique in sound, but not bland. Not over-priced, but not a great value. Maybe not the right mic, but never the wrong one. Doesn't excel on any specific voice type, but sounds good on everything. I think of Neumann much the same way, but Neumann is a different flavor. Soundeluxe is a good choice if you want a great all-around mic that doesn't really sound like Neumann.

For comparison's sake...

Audio-Technica stands out because the sound is a little unique and they're a great value.

Shure stands out because it's bland and unhyped (good for some voices especially female).

R0DE for the same reasons as AT.

The 416 because it's unique.

The RE20 because it's indestructable.

MXL and Studio Projects because there's a lot of bang for the buck.

Neumann, Soundeluxe and Lawson because they're high quality no nonsense mics.

Hope that means something to you!

Emmett
 
I've not used any of the Soundelux/Bock, but I've sure read a lot of raves and can't remember any complaints.

I hesisitate to say, but I just don't see how the ifet7 can really emulate both the U47fet and the U87 without changing capsules. I realize there's a substantial change in the switchable circuitry, but the capsule is the basis for the sound. So. Is it a K47 clone or a K87 clone, or none of the above? Enquiring minds want to know.

I read a lot about the ifet7 being used on kick drum in place of a fet47, but not a lot about it getting used for vocals. I do read a lot about either the U195, U95, or Elux251 on vocals. With fewer raves on the U95/U99 since the 251 came out.

Mitch Phillips used to swear by the U195, which is why he sold me his 416. He sold the 416 because he wanted one U195 for the home studio, and one for the road. He characterized it as having natural mids with air, and of course the switchable bass boost and cut. Mitch's stuff that I've heard on the air, tho, sounds like it needs a mid-bump, IMHO.

If I were shopping for a 47-type sound today, I'd lean more toward Microtech Gefell with the real M7 or one of the Neumanns with the K47 or K49 capsule. I think that 50 years from now when all those old Gefell PVC diaphragms tighten up like the old U47s of today, those will be considered the classic mic to have. But I haven't tried any Gefell either.

JJ
 
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