Topic: Your favorite Mics? Why?

[91HondaCRX]

I'm interested in seeing what other peoples favorite mics are and why.  I am slowly building my tool kit of recording gear and the more I can have that can be best for certain situations, I'm sure will help me out a bunch.  Let me know what you guys think,  I'm just curious

[jlykos]

Microtech Gefells because they sound the best.

[JasonSobel]

Microtech Gefells because they sound the best.

I concur.

[Wiggler]

In the past I've had Schoeps, Gefells, Neumann Tlm-170's and a Soundfield St250.
I am currently using Schoeps because they work great in venues with poor acoustics and consistently deliver a enjoyable tape in almost any situation. I also like the low profile of the active cable setup.
I also like the way they reject unwanted off axis frequencies.

[Gutbucket]

Favorite mics I own:
ADK TL for the switchable pattern choices, the Blumlien-ability with the fig-8 pattern, their clean sound and bomb proof build.
Gefell cards because they sound so sweet.
DPA 4060 omnis for an amazingly versatile, transparent, rain defying and an incredibly small rig (my surround setup with 4 of them + external preamps and recorder(s) fit in a shaving kit bag. They are my most used, go-to mics.

Favorite mics I don't own but would like to:
Milab DC-196- I'd drop the large, heavy TLs for these tiny switchable pattern gems (even though I'd loose the hypercard setting, but I mostly record in good sounding venues).
DPA 4027 compact wide cardioid- because they sound so sweet and I love omnis (these are sort of like slightly directional omnis).
DPA 4099 miniature hypercardioid- best sounding miniature directional I've heard and possibly my next mics for use in combination with the 4060s, yet I'd still prefer a less rolled off bottom end so I'm holding off to see if a rumored variation appears.

Favorite un-available:
Gefell>Nbox 

[illconditioned]

Beyerdynamic MC930 stereo pair.

Value priced mics with great smooth sound, no "harshness" whatsoever..  Excellent for PA recording.

  Richard

[datbrad]

My favorite mics are the ones that always work when called upon.

[rowjimmytour]

Microtech Gefells because they sound the best.

I concur.

I third the Gefells and the sound but also would like to add all the DPA 40xx mics and how sweet it would be to have such a good sounding compact mics. My favorite mics I owned were the TL's and all the patterns (my poor back). For card pattern I liked 930's so far and the price, sound, and size.

[ilduclo]

My favorite mics are the ones that always work when called upon.

that's one of the reasons I like the dpa 4061's, the standard ones, not "heb's", just fucking bullet proof.

[run_run_run]

AT 853s, nice balance and cheap

AKG 414s
AKG c480b/ck63s Best Hypers
Peluso Sub Card Smoooooooth
Nak 300 guns in the right spot

[boojum]

Depends.  Consider the venue, placement options and what is to be recorded.  Current fave for guerrilla recording on the stage lip:  Schoeps CMC64's ORTF with DPA 4061's `40cm apart in AB.  This has worked well in one room I hit.  I have a session coming up in a large sanctuary where I will use that plus a Busman ribbon in Blumlein array for a bluegrass group.  It really does depend on the app.  It is like saying what is your favorite car?  Porsches are fun, but for pulling a truck out of a ditch while being in the mud I'll take a diesel 4x4 any day.   

[acidjack]

I'm interested in seeing what other peoples favorite mics are and why.  I am slowly building my tool kit of recording gear and the more I can have that can be best for certain situations, I'm sure will help me out a bunch.  Let me know what you guys think,  I'm just curious

I haven't owned Schoeps, Neumanns or the higher-end AKGs, but for price, reliability and quality I certainly do love my DPA 4061.  Not the ideal mic in every situation, but their sound is pretty incredible when the conditions (really, mostly, the audience and distance from stage) are right, and other than those two factors, I think they are pretty forgiving.

[Javier Cinakowski]

The AT4050 is very versitle and sounds very sweet!  I also like the Rode NT6 Omni. 

[itook2much]

DPA 4060 omnis for an amazingly versatile, transparent, rain defying and an incredibly small rig. They are my most used, go-to mics.

Agreed.

[Gutbucket]

..its ability as an electret to run on really low phantom voltage is helpful.

How low can it go?

[su6oxone]

I've only tried AT853s, CA-11s, Neumann KM184s, and Schoeps MK4 and CCM4s.  Of these, I like the Schoeps' sound the most.  I've gotten killer tapes with them and they never disappoint except in the worst sounding venues.  Nothing beats the CCM4 for dual functioning in both open and stealth situations... IMO of course. 

[Belexes]

On the cheaper side, CA-14's.  Amazing quality for a great price and you can run them open or  .

[raymonda]

For two point stereo recordings I go with my CCM4's more often than others. On OH I really like the Neumann SM69 for jazz and my 460's for rock type. I like the Neuman KMS105 and 104 for vocals and I just picked up a Senn 431, which I like on the snare. An EV RE20 works great on the kick and bass cabinets along with an AKG D12E or D112.

I have had good luck with the ADK TL's as split omni's and on horns and reeds. My modified Oktava 319s work well on guitar cabinets and vocals. I have used my CCM4 suspended from an upright's bridge using the ortf bar and it works fantastic, as well as a Neuman 84.

A Royer 121 or 122 works extremely well on guitar cabinets and AKG's 535 are a good chioce for vocals, tom racks and flutes. In a pinch it can be used for many other purposes.


I get a hoot out of using my modified MXL 990's and 991's, which cost me around $100 for all four and sound really surprising.

Finally, I find that AKG's 414s to work well on a grand piano.

[spyder9]

AKG 480
Schoeps
Nakamichi 1000

[TNJazz]

Nevaton MK49

Owned them before I became a dealer, and I plan to be buried with my pair.  All the others have come and gone (Schoeps, Neumanns, Gefells, AKGs, beyers, etc.) but these have stayed.

Imagine that.   

Why?  When you hear them with a great pre you will understand.

[OOK]

Man this is so subjective…. and this is question that so many people ask and it’s a very difficult one to answer…my short answer is the one that sounds best to me/you.  Everyone hears differently, location plays a factor, acoustics, what type of PA., who’s mixing the sound, I could go on and on…..most people will answer this question with the mic they own.  I have been recording many years and collecting and trading even longer….  I am positive I have heard a majority of the mics out there we all use for recording shows and some that a lot of people don’t…

It would be impossible to include every mic I have heard but these to me have been the major players that I have paid attention too.

I have owned AT853’s……I made many good recording with these mics…they are decently balanced and a good all around performer.  Jedi master approved for those less than open situations.  I now have a pair of DPA 4060s that take care of this duty.  One of the best miniature omnis out there…. However Nevaton make a great little omni called the MC400 which is killer sounding.

I currently use MBHO 648’s and I have the linear omnis, wide cards, cards and hyper cards….The MBHO 648 are a very crystal clear mic for the most part under most conditions.  The variety of caps make it a great choice for any situation I walk into.  They at times can be a bit bright sounding.  Some say the bass is light…I say its not bloated….like some other mics out there..

I also currently have a set of Nak300 with cards omnis and Shot guns. Naks are not a techniquely  up to date microphone with up to date electronics.  They stopped making them many years ago….but there is just something about the sound of a nak that is appealing to my ears.. Kind of the feeling you get from a cup of hot chocolate on a cold day…they make you feel nice and warm.

One mics I am very familiar with but have not owned are the DPA 4011/4021’s…This is an excellent mic but I find it needs to be in the sweet spot to really shine.  Not many can touch its quality when in the sweet spot……but to my ears they are not very forgiving…

Neumann 140 /184.  I have never really been able to tell the difference between the two in sound quality.  The 140’s  have the ability to change caps, I really like the 143’s.   At first when I got into recording I did not like the sounds of Neumann.  My ears didn’t like them very much but something over the years has changed with my hearing now they sound great to me…I really like the sound now….I would call Neumann’s a very warm sounding mic…again my ears only others may hear differently..

Earthwork mics have always intrigued me….they sound very linear to me…kinda dry at times.  I heard very few Earthworks recordings that I liked….but the one I did smoked, which tells me they are very revealing in what they capture…..they are not very forgiving… if it sounds like shit you get shit….again it reveals all the variables that goes into location recording….a earthworks killer in terms of their omnis is the Avenson STO-2.  Again this is an omni mic.  It sounds fantastic out doors and very close to the sound source.  I have had the  opportunity to use these in the past and will likely use them again in the future……very well  balanced sound….but you need the right environment..

One mic I never have really gotten into is schoeps….They tend to be looked at as the holy grail of mics.  Don’t get me wrong they are great mics but my ears don’t really like the sound all that much…I could never put my finger on it.  I don’t get all the hype about them…  Again I have heard good recordings with schoeps but I usually pass on a schoeps recording if there are other mics to choose from….

Now to AKG..when I first started recording I didn’t really like the AKG480s…but as with the Neumann’s something happened with my hearing that I like the sound off these mics now…I think they are maybe a little over priced but in terms of sound they are a solid performer that gives consistent results…I could be happy with a set. but I don’t find the need to buy a set….

Now to Gefell….I think these are probably some of the best sounding mics ever made.  Some would say these are the true Neumanns….I have like every Gefell recording I have heard.  Some day I would like to get a pair.  To me they are just so warm sounding but not overly warm.  To me they are not as detailed as a MBHO, but have better bass response than MBHO.

Beyer’s 930’s I think are the all-time sleeper mic at this current point.  It has that unmistakable German sound at a very reasonable price.  I will have a pair of these at some point in the future as well.  Again every recoding I have heard from these mics has been fantastic.  My ears love the sound of these mics.

Nevaton make a quality mic and I am very curious to hear the mc49’s.  I like the sound of the Nevaton LD’s very much and I know one person who uses them…I have yet to hear a bad recording with these mics….

Another mic I like are the Milabs Vm44’s.  I have only heard a few recording with these mics.  Not a lot of people have them, but from the recording I have heard I like them.. To me they sound like a cross between a Neumann and a DPA 4011…but a little more forgiving in sound.  I have actually recently looked at a pair of VM44 classics and may pull the trigger on a pair at tax time….but time will tell if that come to fruition…

One mic that continues to amaze me especially for the price is the Church audio mics.  They represent a great value.  Now I must say I don’t like every recording made with these mics, but I like more than the ones I don’t…. this where all the variable come into play…. but in a open setting and proper set up they sound as good as mics 10X their cost…I am just not sure how church does it at the price point but he does….

Another mic that is decent sounding is the ones made by busman….his small diaphragm offer an incredible value but I don’t like the sound off every pattern…I haven’t heard a good wide card or hyper recording with these mics…again so many variables come into play..

I also use a set of Rode NT2000 large diaphragm mics…LD mics are so different sounding to my ears than Small Diaphragm mics…They are much slower, rounder and warmer than SD mics.  They can really pull the bass in to the point where it sucks all the O2 out of the air leaving you gasping for air… the NT2000 is completely variable from omni to fig 8, completely variable roll off, and completely variable pad…

One LD mic that sounds great and I have yet to own is the akg 414’s.  This mic is one of those mics that can just about do it all.  Very nicely balanced and that’s why so many people own them….I will have a set one day….

Another LD I like is the ADK TL’s.  I have always called these the 414 killers.  They give just about everything the 414’s give you but at half the price….they are tuff to pass up…to bad ADK has stopped production on these…

Now before the flamers jump all over me….and I start talking about mics I don’t like, remember what I started out with.  There are so many variables that go into recording.  This is a very difficult question to answer.  But the mics I am about to talk about my ears simply do not like.  I find myself turn off recordings, deleting or passing up recordings made with these mics.

Some mics I don’t like or I should really say am disappoint in are…Peluso’s.  I have a hard time finding a recording I like with these mics….they don’t sound very full to me.  It bothers my ears when I hear these mics…To me they don’t sound very balanced.

The one Neumann mic I don’t like are the TLM170’s….I could never find a recording my ears have like with these mics…that I have stopped searching….They really pull the bass….over pull the bass….like drowned out any highend….again remember I am speaking in terms of what my ears hear…someone may hear something different…

Mics made by studio projects have always been a good value for many starting out, but they sound very thin to me almost bassless….especially the LSD2….What I think really bothers me about this mic is the running capsules in the XY config….My ears do not like this configuration in terms of sound with any mic….it sounds harsh…I need ortf, nos, dina….even the blum recordings with this mic have left me want more in terms of sound…..

I do not like the sound of AT943…..The 853 are great but something is missing in this smaller version….to me they sound thin….unbalanced

Sennheiser mics specifically the K6 series mics sound very harsh to me…almost like nails on a chalk board to me..I have used these mics early on  in my recordings but quickly moved away from them because I simply didn’t like their sound…However one Senn I do like but you need to be close and in the right environment is the Senn441’s.  They are a dynamic mic and can handle incredible SPL.  Also sound balanced to me.  I remember first hearting a stage mix of SKB very early on that to me that was one of the best recording I have ever hear…but again…. it was an ideal situation…

Another mic that has disappointed me in terms of sound is the Josephson 42’s… something about the sound of these mics sound harsh to me but not quit as bad as the Senn K6’s…and its definitely in the high end region.  I will pass up a recording done with these mics..let me rephrase that I will always try and see what it sounds like but I end up deleting recordings done with these mics every time..

I could go on and on but will stop here….again I mean no offense to anyone who uses a mic that I don’t like.  As I stated everyone hears differently and my ears just don’t like these mics….so please take it as just someone’s opinion that really doesn’t matter.  I just found this question so intriguing that I wanted to answer it and kinda take my own inventory at the same time….ask me in five years I bet I will answer differently…

I guess the only advice I could give is listen to as many mics as you can, do research, read read read.....listen listen listen...then try.

Peace OOK

[rokpunk]

Shure UR4D wireless system with U2 preamp and Beta 58 capsule. Why? Because I just spent $12,000 to buy a couple of these systems. Rock solid wireless, well worth the ridiculous cost. I don't think they will work particularly well for concert recording, though. Your question is so subjective it's hard to even touch.

[anodyne33]

u89
Beta 52
KM84i
SM57

[muj]

way too many to list..but some high lights from the recent years

nevaton..funky looking and phunky sound, just superb when you look at quality vs price.unbelivable.

Pearl Elm-C , soundstage and imaging, wow..no crispy highs tho

milab dc-196 versatile and small

gefell um900...modern classic

DPA -  honest and real sounding..visited them, quality assurance is best in the business.Danes know precision..

chinese mics- those crispy and glassy highs works only in the audiophile bizniss

EV RE-20 ..nice for rap vocals...big sound

neumann u47- best midrange there is, fantastic proximity effect

soon nanofilms will be more available and we can see new ribbon microphones with better durabilty flourish..can't wait.there is something about passive mics that has a special appeal..

and the list goes on and on

[rokpunk]

soon nanofilms will be more available and we can see new ribbon microphones with better durabilty flourish..can't wait.there is something about passive mics that has a special appeal.

Shure bought the C&T line, so they are available now.

In my not too humble opinion, passive ribbons will go away in favor of phantom-powered ribbons.  There is a huge advantage to having an amplifier in the microphone, as it allows the use of a transformer with a higher turns ratio.  This results in a low noise ribbon microphone without the need to worry about finding an extremely quiet preamp.

I was amazed how small the new Shure KSM ribbon mics are. And they sound fantastic ta boot. If I had an extra few grand for a ribbon mic, I'd seriously consider the Shure KSM353...even over a Royer.

[notlance]

Maybe onacounta I'm just lazy, but 80% of the time I put up a Beyer MC742 stereo mic.  Most of the time I'm recording live classical, and I know that if I get the Beyer close to a good location I'll have a nice recording.  Usually run it MS so I can play around with the imaging in post.  The Beyer has a bump centered at 10k that sometimes I eq out, but only if I get the mic too close.  A nice characteristic of the MC742 is all the patterns have about the same frequency response, so I can pick the pattern without worrying about changing the tonal balance.

After reading the above I seem to be giving the MC742 lukewarm praise, but it really is a nice mic.  Unless I really screw it up, my recordings with the Beyer sound like the music, not like Hi-Fi or High End or whatever.   For example, I recorded an audition tape for a jazz band using just the Beyer, and one of the (musician) judges said it was the best audition recording he had ever heard.  I'd like to think it was me, but I think it was mostly the mic.

[illconditioned]

Maybe onacounta I'm just lazy, but 80% of the time I put up a Beyer MC742 stereo mic.  Most of the time I'm recording live classical, and I know that if I get the Beyer close to a good location I'll have a nice recording.  Usually run it MS so I can play around with the imaging in post.  The Beyer has a bump centered at 10k that sometimes I eq out, but only if I get the mic too close.  A nice characteristic of the MC742 is all the patterns have about the same frequency response, so I can pick the pattern without worrying about changing the tonal balance.

Is this similar to the Beyerdynamic MC833?  The one I've got is a stereo mic, three capsules, one forward, one one the left, and one on the right.  You adjust (manually) the side orientations.  Can run either LR or MS.

I really like this mic, certainly as a "point and shoot" mic.  I still prefer running spaced cardioids, though, to get phase information.

  Richard

[notlance]

The Beyerdynamic MC742 looks like this:
http://www.polaraudio.co.uk/datasheets/mc742.pdf

[TNJazz]

 

[stevetoney]

Consistent with the response of the majority of the people in this thread, my favorite mics are those that I presently own.  Why?  Because of self-fulfilling prophesy...it's human nature.

Basically, what I'm sayin' is that, IMHO, you won't get a very good answer by asking this question on this board.  You gotta do the listening yourself and decide for yourself...unless of course the only reason you ask is that you're curious about what people think.

[stevetoney]

Consistent with the response of the majority of the people in this thread, my favorite mics are those that I presently own.  Why?  Because of self-fulfilling prophesy...it's human nature.

Or possibly because people tend to keep mics they like and sell ones they don't . . . the question wasn't "what is the best mic", but rather "what is your favorite", somewhat of a lower pressure question I think.

I could make a very long list of mics I've used or owned or built that I don't like, but that wasn't the question.  Although that might be a more interesting thread . . .

Oh, believe me, when I wrote my response, I'd contemplated the semantics difference you point out, mshilarious.  It's still an interesting thread.

[MJ]

I do not like the sound of AT943…..The 853 are great but something is missing in this smaller version….to me they sound thin….unbalanced

The low is weak or thin usually unless you are up-close to the sound.  But this could be perfect for matrix in the post.  You can add whatever low sound you can get from another source.... 

[goodcooker]

Peluso CMC6 with the subcard cap

I've had two pairs already and regret selling them. Very clear and balanced..smooth top end and full but not bloated bass.

I also really liked my JWmod AKG 460/ck1X setup

Slamming bass and that AKG sizzle like the 480s but darkened up a little bit by the active capsule/cable setup. I was trying to achieve the same sound with my current 460/a60/ck1 setup but it's a more "warm" sound...I guess because the transformer is still in the stock 460.

[rhinowing]

SP-BMC-2
i know they're not especially high end, but they're absolutely perfect for the quickie lo-pro recordings i mostly do, and sound pretty damn good for 50 bucks

[Kyle]

For PA recording that most of us do....

I really like the Schoeps sound - it really depends on the particular application but the mk4, mk41, and mk2s capsules are excellent. They deliver exactly what I am looking for with consistent results. The entire frequency spectrum is reproduced extremely well - there is a great balance across the entire range. I really like the 'neutral' (for lack of a better word) sound that they have - what goes in is what comes out. If I need some color or texture I can add it to the sound with the pre that I am using.

I use the AD2K+ in the chain to keep things on the neutral side. I want the sound to be primarily defined by the mics I am using.

I also really like the DPA 4011/402x series. True to the sound being recorded. That is what I am looking for in my mics. As I said, if I want color or texture, I will add it through my pre-amp.

This is tough because I really like a lot of different mics. There are some many to choose from that offer a great range of different sounds. The collection is growing (although much too slowly )

[newplanet7]

DPA 402x
KM 140
ck1~>460
For clarity.
My favorite tapes are made with both of these.
I will own some 140's someday soon.
Dig the modular aspect of the 140's too.

[dgale]

Neumann 140 /184.  I have never really been able to tell the difference between the two in sound quality. 

Perhaps I'm wrong but I thought the KM14x and the 18x are the same mics, other than the 14x's have interchangeable caps and the 18x's have fixed caps (?)

I'm not sure I could ever reasonably answer this question - so many different mic configurations and placements, pre's, etc. that I've rarely been able to compare two sets of mics in an apples and apples situation.  There's been a few times where we've run two sets of mics in the same spot and pattern and relatively similar gear that led me to like the sound of one over the other, but that could be specific to the venue and/or location and in a similar test in a different location or venue I might like them the other way around. Try asking the same question about favorite pre-amp and you'll get a similar diversified response...kind of like asking the best flavor of ice cream.

Back in the GD FOB days, I always thought the Senn 421s really shined...I've never had a chance to try those out in more current taping situations to see how they do.  Makes me wonder what happened to all of the 421s and 441s that used to be around - I never see or hear of them anymore.  I do think that AKG recordings that get made for me always seem to impress me - again, I can't compare them to what other mics would have sounded like in the same venue and pattern, but from a subjective standpoint, they always seem to sound pretty good to my ears.  As for the KM140s, of course I'm biased, but when I nail a recording with them, I find them hard to beat for that full, warm sound they are capable of. 

[RobertNC]

I think you have to qualify this with what kind of music you are recording. 

For PA rock and amplified acoustic, although the sound is not as fat as cards to me the Gefell 210 is pretty much the go to mic.  Night after night, in venues ranging from bars to big shitty sounding sports domes this is one of the most reliable mics out there.

In a good room, I think DPA402x sets the standard for clarity and detail.

[J.T.L]

soundfield

mono, stereo, 5.1, 6.1, 7.1, 8.0 with flexablity in polar patterns, angles, tilt and more all in one mic setup

[Gutbucket]

Lots of options there, as long as you are cool with only coincident configs - a deal killer for me.  I'd love to play with one sometime though.

[edtyre]

I am currently using Schoeps because they work great in venues with poor acoustics and consistently deliver a enjoyable tape in almost any situation. I also like the low profile of the active cable setup.
I also like the way they reject unwanted off axis frequencies.

Couldn't have said it better, Schoeps just consistently bring home a good recording in all types
of situations and the ability to use interchangeable caps with the low pro active setup has me (for now)

[BayTaynt3d]

Not much representing of 480s I guess? I love the sound I get off the ck62's under the right conditions and with certain types of music...

[pyiteac]

Schoeps Colette series.  They have so many options.  Caps, Bodies, active accessories, etc.  They sound great, produce great detail and depth.  They sound best to my ears.

Neumann KM100 series.  I love the highs of the Neumanns.  Smooth and clear.

Schoeps M221b's  I never heard a tape made with these until my brother got a set and ran them this summer.  These things are amazing in their detail and clarity.  It blows my mind how good these things are.

AKG c426. best single point stereo LD Mic I've heard.  Stunning.

Brief synopsis.

[scb]

dpa wide cards.  i simply haven't heard anything sound better

[TNJazz]

Already said it once, but it bears repeating:

Nevaton MK49 are quite possibly the best SDCs I've ever heard.

My new LDC faves are Milab DC196.  Between the two I'm not sure I'll ever need anything else.

[page]

Already said it once, but it bears repeating:

Nevaton MK49 are quite possibly the best SDCs I've ever heard.

My new LDC faves are Milab DC196.  Between the two I'm not sure I'll ever need anything else.

I really thought about getting a pair of Milab's last year... I'll admit that I'm smitten with them.

[mblindsey]

mterry's phish audix pull's are pretty damn good.  mic?  pre?  environment?  i don't know, but those recordings from his run have caught my attention.

[frogger]

As everybody has already said, this is a very subjective topic dependent on a variety of situations.  That said, I've got several mics I've loved over the years.  Miss my Nak 300's (guns, omins, & cards).  Between the 3 caps they covered a variety of recording situations and sounded great.  Have a pair of Sonic Studios DSM-6P that I bought 20 years ago.  Made a lot of great stealth recordings with them over the years but I've just replaced them with some Nevaton MCE400's that sound incredible.  Just made my first tape with them last night and I'll be using those for stealth and open recording.  I've heard several other Nevatons and they all sound very good.  Also have a pair of AKG414's that I absolutely love in the right setting.  I also have a pair of Schoeps CMC4's with MK41 caps and I love those too.  Gotta get me some more caps for them when I have the cash, but gotta get a R44 first   !  Like others have said, listen to what others have used, plug into a variety of mics and see what sounds good to you.
Chuck

[tcf]

I'm glad you like the Nevaton 400s,  I recently picked up a pair and can't wait to run them.  I love that I can run them off of the Microtracker Phantom Power.  It makes for a pretty small rig. 

Tom

[DSatz]

For live stereo recording without "spot" microphones, small-diaphragm condenser microphones are the only type that I would ever want to use. At any relatively normal recording distances in any relatively normal recording venue, a surprising amount of the sound reaching the microphones is reflected sound arriving off-axis, so the off-axis response is far more important than it would be (for example) when spot-miking a vocal soloist in an acoustically isolated studio environment. And physics dictates that the larger the microphone, the less good its off-axis response will be.

Experience also tells me that no one directional pattern is always best. I can't fathom the idea that a person is supposed to be a partisan of one particular recording technique, independent of the actual acoustical situation that one is recording in or the type of music or the arrangement of the performers in the space; there's too much variation in all of the above for any one recording technique to be preferable all the time. So my options are (a) many pairs of separate microphones (at least one pair for each pattern), (b) a pair of switchable-pattern microphones, or (c) a pair of microphones that can accept interchangeable capsules with different directional patterns.

Of these three I prefer (c) over (a) for economic reasons, as well as feeling like it would be stupid to own 20+ complete microphones when owning just one or two pairs (with however many interchangeable capsules) will do equally well. And I prefer (c) over (b) because the only switchable-pattern microphones with a full range of patterns (at least omni, wide cardioid, cardioid, supercardioid and figure-8) are dual-diaphragm, which means that their patterns on the omni-to-cardioid side of the ledger won't be nearly as consistent across the frequency range as what is available from single-diaphragm microphones or capsules (i.e. the off-axis response issue again).

So I've been a real fan of high-quality, single-diaphragm, modular condenser microphones (i.e. those with a sonically neutral amplifier and a range of interchangeable capsules), which I've used since the early 1970s. I started with the AKG C 451 E series (CK 1 and CK 2 capsules), then Neumann KM 83s and 84s, and then found the Schoeps CMT 30/40/50 series, which was soon superseded by the Colette series, which they still make.

I suppose if I absolutely had to give up all but one type of microphone that I own, I would keep my pair of Schoeps three-pattern (omnidirectional, cardioid, figure-8) microphones that I bought in 1973. But then I would severely miss using wide cardioid, "open cardioid" or supercardioid microphones in situations where I feel those patterns are called for. And sometimes an "axially" addressed omni or cardioid is preferable to a "radially" addressed microphone (though the reverse can be true as well). So I hope that it never comes to that kind of decision in reality.

--best regards

[frogger]

I'm glad you like the Nevaton 400s,  I recently picked up a pair and can't wait to run them.  I love that I can run them off of the Microtracker Phantom Power.  It makes for a pretty small rig. 

Tom

A friend has a pair of the Nevatons (and other of their mics too).  I've always enjoyed his recordings so when I saw that the last of these was available before the model change, I knew I had to get them.  Here's the recording of Eilen Jewell I made with them last night.
http://www.archive.org/details/EilenJewelSellersvilleTheatreSellersvillePa

Chuck

[tcf]

Chuck, Those samples sound AWESOME.  For such a small microphone, your recording sounds great.  I'm glad you were able to pick up a pair before they changed the mc400 design.

Tom

[TNJazz]

wow

Excellent sounding samples!

[dactylus]

Chuck, Those samples sound AWESOME.  For such a small microphone, your recording sounds great.  I'm glad you were able to pick up a pair before they changed the mc400 design.

Tom

^^
the new design may be even better, if not, why redesign them?

 

[frogger]

^^
the new design may be even better, if not, why redesign them?

 

The new design may indeed sound better but the size was a consideration for me as these will be used for stealth as well as open taping in the right circumstances.  Either way, I'm very happy with the sound of these mics.
Chuck

[frogger]

Glad people like the Eilen Jewell recording with the Nevaton MCE 400's.  I was very happy with the recording and blown away by the artist.  I highly recommend checking that band out if you have the opportunity.
Chuck

[dactylus]

^^
the new design may be even better, if not, why redesign them?

 

The new design may indeed sound better but the size was a consideration for me as these will be used for stealth as well as open taping in the right circumstances.  Either way, I'm very happy with the sound of these mics.
Chuck

^^

Gotcha - hopefully the new design will not be significantly bigger.   

[TNJazz]

Chuck, Those samples sound AWESOME.  For such a small microphone, your recording sounds great.  I'm glad you were able to pick up a pair before they changed the mc400 design.

Tom

^^
the new design may be even better, if not, why redesign them?

 

They're being redesigned for other uses (film, I think).  Why they're making the barrel longer I have no idea though.

[Gutbucket]

Chuck, Those samples sound AWESOME.  For such a small microphone, your recording sounds great.  I'm glad you were able to pick up a pair before they changed the mc400 design.

Tom

That recording does sound good.  And I really dig the performer, her vocal inflections and banter reminds me a bit of Karin Bergquist from Over The Rhine, with more of a rockin' Texas rather than contemplative Ohio angle.  I'll be keeping an ear open for her.  Thanks Chuck.

I have to call you on the small mic comment, Tom. Why shouldn't a small mic sound every bit as good or better than a larger mic? especially for what we do? You seem suprised that one could.

Can someone point me to more information on the mc400 changes?

[muj]

great recording!

[TNJazz]

Bout time you showed up, muj.  Where ya been?

[kbergend]

A friend has a pair of the Nevatons (and other of their mics too).  I've always enjoyed his recordings so when I saw that the last of these was available before the model change, I knew I had to get them.  Here's the recording of Eilen Jewell I made with them last night.
http://www.archive.org/details/EilenJewelSellersvilleTheatreSellersvillePa

Chuck

Chuck, those Nevatons do sound really nice but FYI somehow your recording got stretched to about 5% slower than its proper speed - Eilen sounds like a contralto!  Jason Beek dropped you a note on the archive about it.

After 7 years I've grown into what I use now, and I love the liveliness and detail of 480s for louder shows and the natural sound and flexibility of my Milab DC-196s for closer miking of acoustic music.  Schoeps are great mics but a little soft for my taste.  Still love my well-worn AT943s for stealth, they're not terribly strong at the high or low ends but very natural sounding -- here's a sample of Eilen Jewell (at her actual pitch) recorded at Joe's Pub in NYC with a stock PMD620.

http://tapers.org/kbergendorff/wav/ej2008-08-10t10.wav
 
I do plan on buying a pair of MG200s before I die (I think they sound incredible, an amazing combination of detail and refinement), but right now we need a new kitchen.

[TNJazz]

Keith, having those Milabs here for a while before they ended up with you really has had me wanting a pair for a LONG time!

That being said, here's a small torrent of the DC196 in blumlein that I did the other evening:

http://bt.etree.org/details.php?id=531878

[kbergend]

5% is only about a semitone, which is less than the difference between 48/44.1.

I arrived at the 5% stretch estimate by resampling one of the tracks in Audition until Eilen sounded like herself, which was at 95% compression of the original file.  I didn't measure the difference in pitch, but sounds to me like it's off by more than a semitone.

[kbergend]

Keith, having those Milabs here for a while before they ended up with you really has had me wanting a pair for a LONG time!

That being said, here's a small torrent of the DC196 in blumlein that I did the other evening:

http://bt.etree.org/details.php?id=531878

Thanks Dirk!  I don't have a BT client here at the office but I'll take a listen tonight.  I certainly haven't had any regrets about buying those mics.  I used them again last month to record Session Americana's holiday shows, in fact seeing them play the first time was my inspiration for buying them so I could set up an unobtrusive Blumlein pair to capture their unique performing style "up close and personal".  They sit around a small circular table with an omni AT4050 in the middle, a configuration that cries out for realistic spatial imaging (someday I'd love to drop a Soundfield mic into the middle of them and do a true surround recording).  Here's an mp3 sample, a little bit of mono board mixed in to boost the vocals but it's mostly the Milabs:

http://tapers.org/mp3s/sessionamericana2009-12-12.matrix.mp3f/sa2009-12-12d2t03.mp3

I'll be bringing them to Memphis next month to record a few nights of acoustic music at the Folk Alliance conference, really looking forward to it!

[frogger]

Chuck, those Nevatons do sound really nice but FYI somehow your recording got stretched to about 5% slower than its proper speed - Eilen sounds like a contralto!  Jason Beek dropped you a note on the archive about it.

After 7 years I've grown into what I use now, and I love the liveliness and detail of 480s for louder shows and the natural sound and flexibility of my Milab DC-196s for closer miking of acoustic music.  Schoeps are great mics but a little soft for my taste.  Still love my well-worn AT943s for stealth, they're not terribly strong at the high or low ends but very natural sounding -- here's a sample of Eilen Jewell (at her actual pitch) recorded at Joe's Pub in NYC with a stock PMD620.

http://tapers.org/kbergendorff/wav/ej2008-08-10t10.wav
 
I do plan on buying a pair of MG200s before I die (I think they sound incredible, an amazing combination of detail and refinement), but right now we need a new kitchen.

Keith,

I screwed up in the dithering.  I've fixed it now, just waiting to hear from greenone as to how I get it to redo the derivations.

Thanks,
Chuck

[kbergend]

That being said, here's a small torrent of the DC196 in blumlein that I did the other evening:

http://bt.etree.org/details.php?id=531878

Wow, these guys really cook!  Great sounding pull, I just love the soundstage.
 

[kbergend]

Keith,

I screwed up in the dithering.  I've fixed it now, just waiting to hear from greenone as to how I get it to redo the derivations.

Thanks,
Chuck

Hey, shit happens -- it was just disarming to hear them in slow motion!  Thanks for sharing, I love Eilen & her band and will be uploading some of the shows I've recorded myself now that she's approved on LMA.

[tapersaregeeks]

Definitely the Sony ECM-MS907 Stereo Condenser Microphone! Hands down!

[sparkey]

Neumann 140 /184.  I have never really been able to tell the difference between the two in sound quality. 

Perhaps I'm wrong but I thought the KM14x and the 18x are the same mics, other than the 14x's have interchangeable caps and the 18x's have fixed caps (?)

There has been much debate on that.  I personally thought I pulled better tapes with my 184's over my 140's, but in hindsight I think the difference was that I was generally running active cables with the 140's, which changed the sound a bit.  I definitely prefer hypers to cards for what I do, and the substantial price bump between the 140's and 150's is enough for me to just opt for the Schoeps hypers.

I love my mk41>kc5>cmc6.  I can run those mics up front, in back, acoustic, electric and they sound great no matter where I go.  They are tremendously forgiving and compact.

Lot's of great choices here....DPA4011's for on stage, Neumann U-89's for delicious large diaphragm low end, mk41/4021/km140 in the hat....lots of goodies to try, followed by arguing about things only dogs can hear :-)

[fmaderjr]

Definitely the Sony ECM-MS907 Stereo Condenser Microphone! Hands down!

You are kidding, aren't you? Since you're a newbie, you may not be. Do some research on the forum and try something like a Church Audio CA-14 or CA-11. Doesn't cost a whole lot more and the difference is amazing. For one thing, you'll now have bass in your recordings and being able to separate the mics improves the sound stage.

[jnorman34]

over the years, i have owned pairs of DPA 4011s, 4006s, 4061s, schoeps CMC64s, neumann km184s, km140s, AKG C460s, C480s, gefell m300s, AT4051s, and many others.  there are really a lot of very nice mics out there that can do a fine job if you understand the situations in which they excel or have weaknesses. 

for lower cost, i think the DPA 4061s are simply amazing, and i still use them as flanks.  the AT4051s are just great mics all around, and compete with almost anything made, IMO, and you can get them cheap.  i really have not ever found any mics at lower price points that have satisfied me like these two pairs.  another extremely nice low cost omni is the AT4022 - i could not get over how great those things sounded for the price.

mid-level cost, the km184s and AKG c460/480 seem to rule here for me.  the neumanns are about as musical as any mic i have ever used.  the C480/ck61 mics are just about interchangeable with my DPA 4011s in overdub sessions - big transparent and honest - they are just great mics.  the ck62 omni caps with the 460 or 480 bodies, and the at4049 seem to be my favorite mid priced omnis, though the dpa 4061s hold their own with anything (other than some self noise issues in rare situations).

higher cost - for me, the DPA 4011 is the most accurate and transparent cardioid mic made.   the schoeps CMC64s were a very nice ORTF pair, but i found them a tad boomy for my taste as spot mics in the studio - i eventually sold those (but, hey - that's just me - i know many folks love them for good reason).  my current main cardioid mics for ORTF pair are the neumann km140, which i just love - while they are not as flat as the schoeps, and not as accurate as the dpa 4011s, they have a sound that i just cant get out of anything else.  for higher end omnis, the km131 near field, and the schoep cmc6/mk2 near fields are my favorites, with the dpa 4006s right there with them.

BTW, i did a shoot out of the km184 vs km140 over in the gear shootout forum on gearslutz if you are interested in hearing those two pairs side by side - i did the test on a flute and piano duo in the studio, to keep it clean and open to best illustrate freq response comparison.

[sparkey]

BTW, i did a shoot out of the km184 vs km140 over in the gear shootout forum on gearslutz if you are interested in hearing those two pairs side by side - i did the test on a flute and piano duo in the studio, to keep it clean and open to best illustrate freq response comparison.

yes please

[Brian Skalinder]

yes please

http://www.gearslutz.com/

[jnorman34]

here is the link to the km184 vs km140 shootout:
http://www.gearslutz.com/board/gear-shoot-outs-sound-file-comparisons-audio-tests/499468-km184-vs-km140.html

[tapersaregeeks]

Definitely the Sony ECM-MS907 Stereo Condenser Microphone! Hands down!

You are kidding, aren't you? Since you're a newbie, you may not be. Do some research on the forum and try something like a Church Audio CA-14 or CA-11. Doesn't cost a whole lot more and the difference is amazing. For one thing, you'll now have bass in your recordings and being able to separate the mics improves the sound stage.

Actually, I wasn't kidding! That was my mic for 6 years! I just got some Core Sound Binaurals in the mail which I haven't used yet which might have been a bad choice judging from a lot of the comments I've read on here about it. I'm definitely thinking of getting a set of Church Audio mics now...

[Myco]

Definitely the Sony ECM-MS907 Stereo Condenser Microphone! Hands down!

You are kidding, aren't you? Since you're a newbie, you may not be. Do some research on the forum and try something like a Church Audio CA-14 or CA-11. Doesn't cost a whole lot more and the difference is amazing. For one thing, you'll now have bass in your recordings and being able to separate the mics improves the sound stage.

Actually, I wasn't kidding! That was my mic for 6 years! I just got some Core Sound Binaurals in the mail which I haven't used yet which might have been a bad choice judging from a lot of the comments I've read on here about it. I'm definitely thinking of getting a set of Church Audio mics now...

Core Sounds do have their place in recording, it's just not in music. I would use them for amplifying a meeting or vocal stuff, they just don't have the response needed for a good audio recording. Good luck in your search for your favorite mics. Mics are like ice cream, everyone has their own favorite flavor.

[fmaderjr]

I'm definitely thinking of getting a set of Church Audio mics now...

You'll love them. They can't be beat for the money.

Depending on your recorder, you may need a battery box to power them. Most of the most popular recorders, including the M10 and R-09HR won't properly power the CA-14's without a battery box (the only recommendable recorder that will power them without a battery box is the Marantz PMD620). Both of the recorders mentioned will power the CA-11's though, but some won't. 

[Myco]

I actually have heard good things about Chris's mics and have recommended them, but that isn't my quote, i'm not in the market for any more mics right now. Try Chris's mics though. 

[tapersaregeeks]

Core Sounds do have their place in recording, it's just not in music. I would use them for amplifying a meeting or vocal stuff, they just don't have the response needed for a good audio recording. Good luck in your search for your favorite mics. Mics are like ice cream, everyone has their own favorite flavor.

Actually, you're the guy that alerted me to the fact that I might not have made the best purchase by what you said about csbs on the Primus bullboard!

At any rate I guess they probably are a bit of an upgrade from an ECM-MS907 though which is good for now. I'll use them until I get some Church Audio mics and then I'll keep them for a back up set or sell them.

I'm using an Edirol-R09HR and the core sound battery box with the bass roll off. I read someone mention that with the csbs they always use bass roll-off. Does that sound right?

[illconditioned]

Core Sounds do have their place in recording, it's just not in music. I would use them for amplifying a meeting or vocal stuff, they just don't have the response needed for a good audio recording. Good luck in your search for your favorite mics. Mics are like ice cream, everyone has their own favorite flavor.

Actually, you're the guy that alerted me to the fact that I might not have made the best purchase by what you said about csbs on the Primus bullboard!

At any rate I guess they probably are a bit of an upgrade from an ECM-MS907 though which is good for now. I'll use them until I get some Church Audio mics and then I'll keep them for a back up set or sell them.

I'm using an Edirol-R09HR and the core sound battery box with the bass roll off. I read someone mention that with the csbs they always use bass roll-off. Does that sound right?

I would put the ECM, Core sound and CA in a similar category.  They are all budget mics, and all sound reasonable.  The ECM is pretty good as a "single point" mic, while the others are more suitable to wear (hidden) on your person.  The main problem I have with the CSB is the price.  It is something like $200, right?  That is too much money for low end gear IMO.  Oh yeah, the ECM and CA are both directional, which helps reduce crowd noise, so they should both be preferred over the CSB.



  RIchard

[fmaderjr]

I would put the ECM, Core sound and CA in a similar category.  They are all budget mics, and all sound reasonable. 

I'm really surprised by this statement since I've learned so much over the years from studying illconditioned's posts.

I guess it's all a matter of our opinions, but the Sony 907 was the first mic I ever used (for about a year). My old recordings made with it are still enjoyable to listen to, but to my ears even the CA-11's (let alone the CA-14's blow it away). Not much bass from the Sony among other issues.

I never used the Coresounds, and never would due to the price and customer service, but in my opinion, the CA-14's, though budget priced, sound way better than that and far outclass the Sony.  To me they are budget mics that don't sound like budget mics. I've recorded in the same venue with both CA-14's and with huge Studio Projects CS5's and they both sound equally good to me.

[Myco]

Core Sounds do have their place in recording, it's just not in music. I would use them for amplifying a meeting or vocal stuff, they just don't have the response needed for a good audio recording. Good luck in your search for your favorite mics. Mics are like ice cream, everyone has their own favorite flavor.

Actually, you're the guy that alerted me to the fact that I might not have made the best purchase by what you said about csbs on the Primus bullboard!

At any rate I guess they probably are a bit of an upgrade from an ECM-MS907 though which is good for now. I'll use them until I get some Church Audio mics and then I'll keep them for a back up set or sell them.

I'm using an Edirol-R09HR and the core sound battery box with the bass roll off. I read someone mention that with the csbs they always use bass roll-off. Does that sound right?

Well I do hope you find what you like. That particular discussion got out of hand. There are many knowledgeable people here that would be happy to help you out. Any way I can help out just let me know.

[illconditioned]

I would put the ECM, Core sound and CA in a similar category.  They are all budget mics, and all sound reasonable. 

I'm really surprised by this statement since I've learned so much over the years from studying illconditioned's posts.

I guess it's all a matter of our opinions, but the Sony 907 was the first mic I ever used (for about a year). My old recordings made with it are still enjoyable to listen to, but to my ears even the CA-11's (let alone the CA-14's blow it away). Not much bass from the Sony among other issues.

I agree the Sony lacks bass, but overall clarity or detail is OK IMO.


OK, let me say a few mics that are a step up, particularly in the level of detail: Sennheiser MKE2 (omni), Sennheiser MKE40 (cardioid, but lacking in bass).  Both of those have more detail, and I use both regularly.

 Richard

[tapersaregeeks]

Thanks to everyone for there great suggestions. I've decided to return the csbs since they have a trial period of a month for getting your money back.

I want to go with some Church Audio mics but all there is for sale on the website are:

CA-10, CAFS and CA 11 Cardioid

I tape mostly loud rock and hip-hop shows, from small clubs to hockey arenas.

What do you think would be the best choice of those, for me?

[newplanet7]

Check out his thread in the retail space section.
Sales for August is the name of the thread.
http://taperssection.com/index.php?topic=136212.0

[Myco]

Thanks to everyone for there great suggestions. I've decided to return the csbs since they have a trial period of a month for getting your money back.

I want to go with some Church Audio mics but all there is for sale on the website are:

CA-10, CAFS and CA 11 Cardioid

I tape mostly loud rock and hip-hop shows, from small clubs to hockey arenas.

What do you think would be the best choice of those, for me?

If you end up using the Church Audio mics to tape a Primus show I'd be real interested to hear it. If you have any questions on tracking out and uploading the show afterwards I'd be happy to help you out.

[tapersaregeeks]

If you end up using the Church Audio mics to tape a Primus show I'd be real interested to hear it. If you have any questions on tracking out and uploading the show afterwards I'd be happy to help you out.

I don't know if I'll be able to bring myself to go see Primus without Tim Alexander on drums. That would be like going to see Led Zeppelin without John Bonham on drums! I've only ever seen Primus with Tim so I don't know if I want to see them without. I am going to watch the webcast tomorrow night on iClips though and I guess I'll decide after that.

[Myco]

If you end up using the Church Audio mics to tape a Primus show I'd be real interested to hear it. If you have any questions on tracking out and uploading the show afterwards I'd be happy to help you out.

I don't know if I'll be able to bring myself to go see Primus without Tim Alexander on drums. That would be like going to see Led Zeppelin without John Bonham on drums! I've only ever seen Primus with Tim so I don't know if I want to see them without. I am going to watch the webcast tomorrow night on iClips though and I guess I'll decide after that.

   Jay Lane is rippin' it this tour though.

[mterry]

Audix m1280/HC running into a V2

I love the mics for their size and I think the mids and highs are really on point.


I've also owned 853s and 480/ck61, but my little micros scratch me where I itch!

[su6oxone]

CA-10, CAFS and CA 11 Cardioid

I tape mostly loud rock and hip-hop shows, from small clubs to hockey arenas.

What do you think would be the best choice of those, for me?

CA-11 cardioid will be most suitable and versatile out of the three choices IMO, since you apparently will be ste@lthing some of the time at least.  But you can run the CA-11 open as well.  I don't even know what the CA-10 are but I guess they are the lower end version of the Church line of mics.  The CAFS are tiny and could be useful if getting gear in is difficult, but as omnis they are less ideal for stealthing as you will pick up a lot more crowd noise with them in GA type shows.  But of course, some people love ste@lthing with omnis.

[Cooker]

MGs. Hands Down. If you own these mics, don't ever sell  them. You'll regret it.

unless you sell them to me.

[M]

Audix m1280/HC running into a V2

I love the mics for their size and I think the mids and highs are really on point.


I've also owned 853s and 480/ck61, but my little micros scratch me where I itch!

You gotta run the cards into some nice Xmfrs from the spot!

I don't believe that these mics without their bodies compare, but I do wish to be proven wrong.  Just throwing that out there.

[TNJazz]

over the years, i have owned pairs of DPA 4011s, 4006s, 4061s, schoeps CMC64s, neumann km184s, km140s, AKG C460s, C480s, gefell m300s, AT4051s, and many others.  there are really a lot of very nice mics out there that can do a fine job if you understand the situations in which they excel or have weaknesses. 

You need to try some Nevatons.