Topic: Your least favorite mics. Why?

[dgale]

And, have to mention those Sony stereo mics (9xx series) - "your sound source from inside a pillow"

I had a ecm939lt back in the early 80s and made some great recordings with it - it typically lacked enough bottom end but nothing a little EQ couldn't fix.  Otherwise, great clarity - I still have that thing and lent it to a non-taping friend to make a no-brainer recording a few years back at a show I couldn't catch - came out pretty nice.

I agree 100% on the CoreSound cardiods - I had a pair of those way back when and they sounded like crap every time I used them.  I finally traded them straight across for a pair of CS binaurals to a guy in Europe - he thought he got a better deal because the cardiods were more expensive...I know who really got the better end of the deal. 

[acidjack]

those newish AKGs - c1000, c3000. Icepick meat forehead... 

And, have to mention those Sony stereo mics (9xx series) - "your sound source from inside a pillow"

Have to agree on C1000.... at least for live applications in the venues I've heard them, they are way way way too bright and lacking any low end.

[notlance]

My least favorite mic is the one that is popping or humming or picking up the local radio station just before the concert and I didn't bring anther mic 'cause I wanted to lighten my kit just for that night.

[stevetoney]

I did a mental checklist of all the mics that I've owned and I really can't say that I feel real negative about any of them such that I'd call them out in this thread.  Every mics I've owned has pluses and every one also has minuses.  I can even say this is true when comparing the lower priced models I've owned against the higher end. 

[Patrick]

The AKG c1000 "dildos" are pretty awful sounding mics.  Although they do fairly well on acoustic guitars and other strings because of their brightness.  I think the AKG d112 is by far the worst sounding kick drum microphone, however I do own one simply because it's a fantastic sounding mic for dirty guitar amps.  I'm not too much of a fan of the 451's either, but they have their uses.

I didn't mean for this to become a akg bashing post.  They make good products but some of them are just not useful to me.

[oudplayer]

Yea, saying the C1000s are more useful in a pinch for their mild bludgeoning properties, or at the suggestion of patrick for their autoerotic value, than for any single form of sound reinforcement known to mankind is not a knock on, how is it called 'round these parts, the "vintage" legacy of AKG... The C460 and C480 variants have good uses (although I might not use all of them for live-to-2-track applications). And the old C24 is STELLAR for live recording. Well, if you can even find one for less than $5k. And if it's still working.

Forgot to mention the Rode small diaphragm condensors. I have just about as much love for them as I have for the C1000. If the NT4 cost $100 I might not feel that way, but, it doesn't

[willndmb]

church audio
(ducks fast)
seriously i have not heard a ca recording i really liked
i know many people love the mics but they just don't go well with my ears

[DaveG73]

I often wonder why people are so keen on the DPA micro omnis (4060/4061 I think). While they can sound fantastic in perfect conditions, they seem to be primarily used in a stealthy way by people on here, which usually means some way short of perfect.

I really want to like them as I have heard some great pulls of acoustic/orchestral/folk music but then I hear a "rock" recording and I start to dislike them all over again. Not really sure how to describe it but they always sound scratchy and brittle for rock shows.

I have one perfect example from Neil Youngs tour in 2008 from Manchester. Acoustic set sounds great, but the electric set I find very fatigueing, especially with cans, and I stuggle to listen to it through.

I don't expect I will find much agreement but what can I do.

Dave.

[illconditioned]

I often wonder why people are so keen on the DPA micro omnis (4060/4061 I think). While they can sound fantastic in perfect conditions, they seem to be primarily used in a stealthy way by people on here, which usually means some way short of perfect.

I really want to like them as I have heard some great pulls of acoustic/orchestral/folk music but then I hear a "rock" recording and I start to dislike them all over again. Not really sure how to describe it but they always sound scratchy and brittle for rock shows.

I have one perfect example from Neil Youngs tour in 2008 from Manchester. Acoustic set sounds great, but the electric set I find very fatigueing, especially with cans, and I stuggle to listen to it through.

I don't expect I will find much agreement but what can I do.

Dave.

I agree with this assessment!

The DPA mics have amazing detail, but for some reason, they sound "harsh" for music.  I don't know why, but I suspect it has something to do with distortion at high frequencies.  The DPA (and other mics like Sankon COS, Tram, etc) have a rectangular diaphragm, which has less tension than a circular one.  They are much more sensitive, but there is something about the sound that bothers me.  These seem great for foley (ambient recording, effects) because they sound extremely realistic, but they don't sound "pleasant" at all.

The best sounding mics I have found so far are Nevaton MKE400 and Countryman B3/B6.  These both have circular, stainless steel diaphragms.  They sound both realistic and pleasant.  Listen to some of my recordings at http://Http://Soundmann.com and hear for yourself.

  Richard

[datbrad]

I often wonder why people are so keen on the DPA micro omnis (4060/4061 I think). While they can sound fantastic in perfect conditions, they seem to be primarily used in a stealthy way by people on here, which usually means some way short of perfect.

I really want to like them as I have heard some great pulls of acoustic/orchestral/folk music but then I hear a "rock" recording and I start to dislike them all over again. Not really sure how to describe it but they always sound scratchy and brittle for rock shows.

I have one perfect example from Neil Youngs tour in 2008 from Manchester. Acoustic set sounds great, but the electric set I find very fatigueing, especially with cans, and I stuggle to listen to it through.

I don't expect I will find much agreement but what can I do.

Dave.

I agree with this assessment!

The DPA mics have amazing detail, but for some reason, they sound "harsh" for music.  I don't know why, but I suspect it has something to do with distortion at high frequencies.  The DPA (and other mics like Sankon COS, Tram, etc) have a rectangular diaphragm, which has less tension than a circular one.  They are much more sensitive, but there is something about the sound that bothers me.  These seem great for foley (ambient recording, effects) because they sound extremely realistic, but they don't sound "pleasant" at all.

 

I can say that when I recorded an acoustic trio last month from the second row, in front of the left stack, using 4061s into a warm modded 661, the results were outstanding. Very musical, and nothing harsh about it. At the same time, I agree that many of the loud rock shows taped with these sound a bit shrill, and the bass is very loose at times. 

[Church-Audio]

[names left out to protect the innocent]

There was a funny incident on the Micbuilders board a couple years back where one vendor of mics who may or may not be mentioned above asked the board how to build a mic that could be phantom powered inside an XLR connector.  Another vendor of mics exposed that individual by saying it sounded like he was trying to copy the designs of yet another vendor of mics.  A further reply suggested that the first vendor start by learning Ohm's Law      It was fairly brutal, but funny.

I was not a participant, but I've always published my schematics, so no big deal to me either way . . .

[/names left out to protect the innocent]

just want to say it was not me lol... Hope that does not make it to easy to figure out who it was.......

[Church-Audio]

church audio
(ducks fast)
seriously i have not heard a ca recording i really liked
i know many people love the mics but they just don't go well with my ears

Everyone hears sound differently. Nobody makes the perfect mic that will please all of the listeners out there. I have been a sound engineer now for 22 years. I have heard plenty of recordings of my gear that I love. I have also heard some that I would rather see "disappear" lol.... I think in the end careful attention to technique and placement combined with a good sounding source will = a good recording. Sometimes you get that sometimes you don't. That's why live recording is so challenging.

PS.. You might want to check out this recording. I think its pretty good.

http://andrewoliverkoraband.bandcamp.com/album/live-at-jimmy-maks-10-9-09?autoplay=true



Chris

[ilduclo]

coresounds, poor build quality on the set I had.

[willndmb]

church audio
(ducks fast)
seriously i have not heard a ca recording i really liked
i know many people love the mics but they just don't go well with my ears

Everyone hears sound differently. Nobody makes the perfect mic that will please all of the listeners out there. I have been a sound engineer now for 22 years. I have heard plenty of recordings of my gear that I love. I have also heard some that I would rather see "disappear" lol.... I think in the end careful attention to technique and placement combined with a good sounding source will = a good recording. Sometimes you get that sometimes you don't. That's why live recording is so challenging.

PS.. You might want to check out this recording. I think its pretty good.

http://andrewoliverkoraband.bandcamp.com/album/live-at-jimmy-maks-10-9-09?autoplay=true



Chris

i'll check it out

FOR THE RECORD EVERYONE - i am not knocking ca work or mics - my ears just don't go well with them
ca has and does supply great info and produce a product that go well with many ears, maybe yours

[illconditioned]

church audio
(ducks fast)
seriously i have not heard a ca recording i really liked
i know many people love the mics but they just don't go well with my ears

Everyone hears sound differently. Nobody makes the perfect mic that will please all of the listeners out there. I have been a sound engineer now for 22 years. I have heard plenty of recordings of my gear that I love. I have also heard some that I would rather see "disappear" lol.... I think in the end careful attention to technique and placement combined with a good sounding source will = a good recording. Sometimes you get that sometimes you don't. That's why live recording is so challenging.

PS.. You might want to check out this recording. I think its pretty good.

http://andrewoliverkoraband.bandcamp.com/album/live-at-jimmy-maks-10-9-09?autoplay=true



Chris

That sounds great.  Tell me more.  Did he use your mics?  A mix of soundboard and mics?  Where was it recorded?

  Richard