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On-Air Mics

While the RCA 77's were decent, they never came close to the 44's which could grow agates on a soprano. But try to find one with the ribbon in decent shape!

I'm using a Sennheiser MD441 in my own studio and put one in a station's somewhat noisy production room for the same reasons; the very tight pattern that eliminates noise off to the sides and for the flexibility with the adjustable response curve. Doggone things are antique; you'll see earlier versions in World War II film clips when German "Party" bigwigs are speechifying.
 
Why Neumann?

The clarity and natural warmth. If worry about quality for voice-overs, then why wouldn't you for live on air use?

Even the more lowly TLM103 makes an RE-20 sound like you are talking through three layers of wax paper.

My home studio mic is an AT 4047/SV. Works great for me and light years better than an RE-20, but sounds much different than a Neumann.
 
VelvetR said:
While the RCA 77's were decent, they never came close to the 44's which could grow agates on a soprano. But try to find one with the ribbon in decent shape!
Click to expand...

That's easy. Clarence Kane, who built RCA ribbon mics while working at RCA, is still around and is still refurbishing them using the same NOS ribbon material that RCA used.
 
Has anyone had any experience with the Rode Procaster? Looks like about the same size as an RE20...they sell for around $270 with a shock mount.
 
I always liked the size of the MD-421. The RE20's are fine but why does it have to be so large? As a jock I don't want a big mic getting in my way, although I did like the Shure SM5B. I thought it was better than the SM7 but you saw a lot more SM7's in radio stations back in the '70's and '80's.

I think Neumann is overkill for most radio applications. A music recording studio or an audio production house would be different.
 
Mike Sheridan said:
I always liked the size of the MD-421. The RE20's are fine but why does it have to be so large? As a jock I don't want a big mic getting in my way, although I did like the Shure SM5B. I thought it was better than the SM7 but you saw a lot more SM7's in radio stations back in the '70's and '80's.

I think Neumann is overkill for most radio applications. A music recording studio or an audio production house would be different.
Click to expand...

It all depends on what sound you're aiming for, I suppose. Some countries still broadcast on the AM band, in mono etc, in those cases it might be a different issue.

As far as the 421, those are really good mics but I've heard they sound very different now that they're in version 2. The old ones supposedly sound better. And I'm sure that's true because the clips I've heard of the newer 421's have been a bit too extreme in terms of hyped frequencies. It sounded congested on male voices.
 
Mike Sheridan said:
I always liked the size of the MD-421. The RE20's are fine but why does it have to be so large? As a jock I don't want a big mic getting in my way, although I did like the Shure SM5B.
Click to expand...

Ah, we live today, not in the past... but I have to chuckle over that one. Those of us who had to figure out some way to peek around the old RCA 44s and 77s to see the copy and the clock and whatever (and tray to avoid blowing the ribbon out!) take a look at that RE20 and say: Are you kidding me? Big? Piece of cake!

Of course, when you have worked the EV 630 or the 635 or the Shure 57 or 58, the RE20 does seem to have the ability to get in the way.
 
ptfigg-

Don't be surprised by the popularity or low cost of the dbx-286a. It's an excellent processor. It was designed by Bob Orban back in the day when dbx and Orban shared R&D.

On a different note, I have an AM still using a Shure SM5.. Huge mic but sounds nice :)

Best Regards..
 
ptfigg-

Don't be surprised by the popularity or low cost of the dbx-286a. It's an excellent processor. It was designed by Bob Orban back in the day when dbx and Orban shared R&D.
Click to expand...

Thanks, chief.

I'm going to buy one and check it out.

On a different note, I have an AM still using a Shure SM5.. Huge mic but sounds nice
Click to expand...

Would love to check one of these out as well. There's one on eBay, listed for about $650.

-paul.
 
Ok - Done deal on the 286a. Bought one for $115, 4 day's old - used only on New Years Eve and ready to be unloaded ;)

-paul.
 
Used only on new year's? ;D Maybe it couldn't take more than three blasts and now he's selling it?
 
Nice to see the AT2020 and dBx286 combo mentioned a few times - That's what I use in my home studio. I was very surprised by the quality of the microphone, even barefoot - but coupled with some processing, it sounds rather good. My own chain includes a TC Electronic Triple C (3x digital multiband + limiter) on the dBx insert - just to sweeten the voice.

Stations here in the UK are 99% condenser - AT4033/4040 the popular choice for the commercial stations whilst the BBC tend to favour the Neumann u87. Some of the BBC local radio stations use the Beyer M201. I can count the number of stations I'm seen with an RE20 on one-hand :(
 
Charlie said:
Stations here in the UK are 99% condenser - AT4033/4040 the popular choice for the commercial stations whilst the BBC tend to favour the Neumann u87. Some of the BBC local radio stations use the Beyer M201. I can count the number of stations I'm seen with an RE20 on one-hand :(
Click to expand...
Same thing in the Netherlands. Microphone of choice is either the Rode Broadcaster or the Shure SM-7. I've used both and for DJ stuff I just love the SM-7 combined with the Symetrix 528E (or even the older 528). For news/talk I think the broadcaster with a Yellowtec VIP is a better choice (or a nice AKG) I'm pretty sure nobody uses the RE20 in the Netherlands. I guess, just like on-air processing, it's just US vs. EU taste ;-)

I have worked with RE20's during some US projects in NY and LA though and thought is sounded somewhat 'dull' in the controlroom, but was pleasantly surprised by the actual on-air sound. I like and used the Rode NT3 for news/talk as well.
 
BabyDJ said:
SM5 is, for me, the sweetest dynamic microphone made for radio broadcast. The 7 doesn't even come close to the richness of the 5. I own both as well as RE-20, 27 and a Sennheiser 421 dynamics. Nothing touches the Shure

I really wish Shure would bring it back. Here is a shootout where the guy liked the 7 better, but I don't agree

http://www.gearslutz.com/board/low-end-theory/444665-sm7b-vs-sm5b-shootout.html
Click to expand...

You can work the SM5 very closely and never have to worry about popping it!

What was the primary application for the SM5? I only used one at the radio station I was working for. Was it used as a boom mic in TV?

Speaking of the old RCA 77DX what did it sound like when you blew out the ribbon? Was there a complete failure? Was it easy to blow out the ribbon? In all my years in radio I don't remember having a mic failure.
 
richard.vanderveen said:
Charlie said:
Stations here in the UK are 99% condenser - AT4033/4040 the popular choice for the commercial stations whilst the BBC tend to favour the Neumann u87. Some of the BBC local radio stations use the Beyer M201. I can count the number of stations I'm seen with an RE20 on one-hand :(
Click to expand...
Same thing in the Netherlands. Microphone of choice is either the Rode Broadcaster or the Shure SM-7. I've used both and for DJ stuff I just love the SM-7 combined with the Symetrix 528E (or even the older 528). For news/talk I think the broadcaster with a Yellowtec VIP is a better choice (or a nice AKG) I'm pretty sure nobody uses the RE20 in the Netherlands. I guess, just like on-air processing, it's just US vs. EU taste ;-)

I have worked with RE20's during some US projects in NY and LA though and thought is sounded somewhat 'dull' in the controlroom, but was pleasantly surprised by the actual on-air sound. I like and used the Rode NT3 for news/talk as well.
Click to expand...

Interesting,. As far as preamps, I've not seen many off the shelf preamps in swedish or norwegian radio studios. It's mainly been console pre's and the consoles have most likely been somewhat customized solutions. The last place I worked had a Mandozzi board and I think that's what the SR uses exclusively now, but I could be wrong. But Mandozzi console and Gefell condensor was the last airchain I used when I read news a couple of years ago. Sounded great. Effects came from some digital slave unit in the other room, I never saw it. For field work, they used Marantz recorders and MD21's but I think they've switched to HHB Flashmics now, at least partially.
 
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