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Gear / Technical Help => Microphones & Setup => Topic started by: twalker on May 21, 2012, 11:16:18 AM
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So, I know this is a tough question and everybody is going to have differing opinions. But, I am curious to see what you will say.
If you could only have one pair of complete mics what would you choose? Think of it as your desert island set.
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Now I'm dreaming of MKH40 pair as my first and last bulletproof setup for using it anywhere in anytime. Indoors, outdoors, winter, spring, summer and winter. Maybe to add MKH30 later :)
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Switchable caps count?
I've never heard a bad pull from my buddy's Neumann KM 100 / AK** mics. If I were stuck with one cap per body then I'd chose the Omni and Fig 8 for Mid-Side... should have everything covered then. So practical... ::)
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Switchable caps count?
I've never heard a bad pull from my buddy's Neumann KM 100 / AK** mics. If I were stuck with one cap per body then I'd chose the Omni and Fig 8 for Mid-Side... should have everything covered then. So practical... ::)
I was originally thinking one pair of caps and one pair of bodies. But, I am not sure now because sometimes you just need omnis. ;D
The Neumanns are great. And, the versatility is nice. I am wondering if everything that I record could be done with a single set of wide cards.
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TLM 170's have always impressed me. I've just never seen a pair in my price bracket. I guess that's like being stuck on a desert island with Angelina Jolie.
If we restrict the list to things I actually have owned or used, it's a toss up between MK4's with bodies, and the Gefell M210 hypers. I've owned both for the last year. I've been trying to decide which to keep and which to sell.
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Tossup b/w the AKG 414s (which is kind of cheating, given the multipattern function) and something else. The MK41, if you really mean one pattern and one capsule type, would probably get the nod for me as it never sounds "bad" anywhere and sounds better further back than other things, at least in my taping situations.
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I am wondering if everything that I record could be done with a single set of wide cards.
Depends on how much information more than 120 degrees of frontal axis you need (and conversely, how much you value a pressure cap over a gradient) . For most of us here, that's none, for a couple of us, it's minimal. For what I know about you're stuff, I think you could get by with a subcard if you treated them as omnis and ran AB style.
2 years ago I would have said something like an mk41 or something like that (a dark/neutral hyper). Now it's the 4015 since my taping situation has changed. I actually may trim down to just the 4015 cap for a while. 2 years from now, who knows. :-\
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If I pick a Neumann RSM-191, do I get to pick another mic to make a pair? ;D
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Cheating or not, I've always been partial to a good pair of AKG 414's. 2nd choice: DPA 4011's.
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mg210 for me..
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It's so situation dependant (music style, venue type, taper's perference, stealth or open, etc) that it's not suprising the answer will be wildly different for each of us. I currently own a pair of nice German SD cardioids (Gefell M94/MV692), well regarded multipattern LDs (ADK TL), a nice stereo LD mic (Peluso P-stereo), an ambisonic mic (Tetramic), various miniature omnis (B3, 4060, 4061, panny cap based binaurals, old Shure lavs), and some other oddballs, but if I was only allowed to use one mic model from this point forward, it would be the DPA 4060. I do require at least 4 of them though, not just a single pair.. and I ain't budging from that stance.
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i do chamber music, so i would choose a pair of KM131 near-field omnis.
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I wouldn't consider a multi-pattern cheating. A good pair of classic 414 mics can go a looong way.
Gutbucket, you are exactly right. There are a lot of variables to factor in. When. I first got into this I recorded rock bands in small clubs. Then I moved in to jazz groups in recital halls, then chamber and orchestral music in halls and churches and now I am back to doing rock bands and festivlas and doing less chamber and orchestral. I love my 4006 stereo set and you'll have to pry them from my cold dead hands. You might -and I say MIGHT be able to trade me for a set of MG m221. However, outdoors at festivals I just don't get what I am looking for out of them. So, enter a good pair of whatever. And, I still have not decided on that whatever. Everything in its right place, I guess.
Page, the subcard has been rattling around in my head. And, I may experiment with a pair someday.
Joe, I know what you mean. Maybe one day on the TLMs...Angelina though would probably have to have her brood in tow. That may be a little more than I could handle.
If I recorded nothing but classical and I could afford it I would own a trio of U47 mics. Then I would be done. The sounds from Mercury living prescence are/were amazing with that trio. And, then there was the M201 Schoeps that was used on some sessions. But, these mics would serve little purpose in the other stuff I do.
Jon, I have been kicking around a pair of your caps for the less than open occassions. Maybe...someday.
If I had to sell everything (all of my mics) and live with one pair of bodies, I would have to have interchangeable caps. I am partial to my DPAs, so I would sell my DPA 4006tl set and get a 4006a set and a pair of 11 caps. That way I would have both omni and cards. The second choice would be an MG SMS 2000 set with 21 and 27 caps.
Let's hear some more.
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Question has been asked before, but under the context of a "dream rig."
http://taperssection.com/index.php?topic=103559.msg1471567#msg1471567
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Question has been asked before, but under the context of a "dream rig."
http://taperssection.com/index.php?topic=103559.msg1471567#msg1471567
Actually, this is a little different. I am concerned with mics only and only a pair. A lot of the dream rigs mine included are multichannel, multi mic setups. In my last post, I went a little further in adding a second set of caps. My initial point was to determine if you could only have one set what would they be. Plus, the dream rigs are just that...money no object. If I were to sell all of my gear, I still wouldn't have the money to buy my dream rig.
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Schoeps mk5's/mk41's > cmc6xt's
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Schoeps CCM41/CCM41V
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
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Schoeps CCM41/CCM41V
I have found several shows on LMA with the 41 that sound incredible. I have always had a hot/cold relationship with Schoeps. Then I saw NOLA's CMR rig, started looking at shows done with the 41 and CMR sets and thought most were amazing. Plus, I like Page's idea of running them as an AB pair for the chamber stuff I do.
I do feel like I need to pair down a bit. I have too many mics. And, I should update my recorder. Maybe the 41s will be the ticket. But, I just don't think I can let go of my DPAs. I really need unlimited financial resources so, I could have all of the mics I want. :D
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
Nevaton...interesting. Time to jump on LMA.
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
Nevaton...interesting. Time to jump on LMA.
There are not to many recording posted done with these.... only a few... but I have a friend who swears by Nevaton. He has a pair of Nevaton LD's and a pair of the Nevaton mce400s tiny omni's. they all sound fantastic.... So when TNJazz was selling a piar of MC49's I jumped on them knowing the Nevaton Quality...All I have to say is wow... exteneded lows, great mids, smooth highs, not over hyped like some mics....and lazer like detail.... My buddy keeps telling me to take care of his mics.... even tho he doesn't own them yet and I am not selling any time soon.. TNJazz is a dealer for Nevaton and super easy to deal with... You won't see these come up used very often because what you will discover is people keep them and don't want to sell them... I know I won't for a long time....
OOK
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
I agree with this and I will throw Milab dc-196' and VM-44's with the not many people have them thing. High-end for a reason.
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
I agree with this and I will throw Milab dc-196' and VM-44's with the not many people have them thing. High-end for a reason.
I too agree with the milabs. The VM-44's are one mic that I currently don't own but would like too... and will at some point. OOK
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I too agree with the milabs. The VM-44's are one mic that I currently don't own but would like too... and will at some point. OOK
I'm curious, how do you think your MBHOs stack up against the Nevatons or VM-44s?
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I too agree with the milabs. The VM-44's are one mic that I currently don't own but would like too... and will at some point. OOK
I'm curious, how do you think your MBHOs stack up against the Nevatons or VM-44s?
I love my MBHO's...I can walk into any situation and I am set with the caps I have.... I guess if I had to say...my Nevatons sound most like my widecards tonally with a little tighter pattern... The hypers are a tad brighter with a little less bass... the omnis are just FAT sounding, dont use them near enough.... The two I use the most are the widecards and hypers. I think I have only used my cards 1x in quite some time... But used them for the first 100 shows or so when I first started recording. I find MBHO to be detailed like schoeps without the mud... :P I think thats why some find the MBHO line bright... The only VM-44's I have heard are the cards. To me they have a very smooth tone overall, the best way to describe it is detailed without being edgy, dare I say a little more mellow sounding. I was actually set to buy a set of Milabs when the Nevaton came up for sale at a price I couldn't refuse. It was right around the time I noticed Milabs had gone up a little in price.
To me MBHO work great in any room but do particuraly well in a bass heavy room, especially the hypers..... Milabs to me do well in most rooms but excell in bright rooms... Nevatons are between the two... I have been recording so long I rarely walk away with a bad recording... its all about arriving early, knowing your room and location location location.... and when in doubt default to MBHO hypers.
Another mic that i think is probably one of the best mics for what we do is the Microtech Gefell 210's. Its probably the best Hyper I have ever heard... it is a very consistent sounding microphone, a taper buddy of mine has 4 of them... You know who your are...... :P
And another mic that really intrgues me are the Telefunken ELA M-260...These mics thus far have made some great recordings and they are tubes....in da freakin field!
What I like about the higher end mic market right now is there are so many choices one can make and you will be happy 100% of the time.... To me Schoeps and Nuemann have priced themselves out of any real competition. While their products are very good they are just simply over priced in my humble opinion and they bank mostly on the name recognition and extensive history in the field. Your money certainly goes much further at this level of microphones....today than it did in the past.
All this really means nothing because its just my humble opinion and that with 2$ will still only buy you a small coffee. Sorry for the rant..When it comes to mics I get jazzed up!
OOK
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Still researching my mic upgrade and have been extensively looking at neumann KM A/KK184 vs KM140 (at OOK's suggestion back in March) now looking at the Nevaton mc49 matched pair new for 660 less. . . and really like the sound.
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Still researching my mic upgrade and have been extensively looking at neumann KM A/KK184 vs KM140 (at OOK's suggestion back in March) now looking at the Nevaton mc49 matched pair new for 660 less. . . and really like the sound.
I sorta forgot about the KMA's...those seem to be moderately priced at about 2500 a pair... good balance between the SKm184 and SKM140s...
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Still researching my mic upgrade and have been extensively looking at neumann KM A/KK184 vs KM140 (at OOK's suggestion back in March) now looking at the Nevaton mc49 matched pair new for 660 less. . . and really like the sound.
I sorta forgot about the KMA's...those seem to be moderately priced at about 2500 a pair... good balance between the SKm184 and SKM140s...
Yes 2460 for KMA with 184's @ one major NYC outlet. Have always liked the flexibility of modular but already have three sets (senn mke, aKg 460 and 390). Might be time to break out of my shell ;) Will listen to as many MC49 samples I can find over the next few weeks. Want to get my upgrade in hand for the summer season. Thanks again for input.
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
Those recordings on LMA sounds really nice!
BUT It really eats 10mA as mentioned in specs?
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Those recordings on LMA sounds really nice!
BUT It really eats 10mA as mentioned in specs?
Doubtful that they pull even close to that much current. Nevaton specs everyone of their mics at 10ma, even their small lavalieres (MCE400) which probably don't even pull 5% of that.
I have a pair of MC51 (also rated at 10ma) and I see the same battery life with them on all my equipment as I do with all of my other mics.
Not sure why Nevaton gives them that spec, I always assumed something got mixed up in translation. Maybe Dirk can shed some light on this?
Oh yeah, as far as my choice if I could have only one pair of mics, for stealth or low profile work, I would choose the Nevaton MCE400's.
For open recording, even tho I prefer the sound of both the m20 and m27 caps, I would choose the Gefell M210s as they are better suited to most of the rooms I record.
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Not many people have them...but that will change once more poeple hear them.... Nevaton MC49 cards...! It its an incredible sounding microphone and is perfect for what we do...
OOK
Those recordings on LMA sounds really nice!
BUT It really eats 10mA as mentioned in specs?
There is no way they pull that much..... Like JD said someting must have gotten lost in translation... I have used my nevaton a couple of times since getting them and I haven't noticed any different drain than say my MBHO....
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I'm thinking to ask about this specs Russian Nevaton's service (I'm from Russia). Anyway, Russian Nevaton's website don't have a detailed specs for their mics (only sensitivity, noise, max spl and graphs). Only detailed specs I've found have been published by NEVATON.EU. And this specs differ sometimes from those on Russian website. For example, a Nevaton MK48 have a sensitivity of 20mv/Pa on Russian website, but 12mV/Pa on NEAVATON.EU. And I don't know who to believe. Maybe, It's time to ask Nevaton's.
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TNjazz is a dealer for Nevaton he may be able to clear up some concerns.... OOK
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Nevaton.eu is the European distributor's website, so I think I would go with the Russian specs. I can check on this and see what I can find out for sure. I can say with reasonable certainty that they do NOT draw 10mA.
Incidentally, please excuse the sales pitch here but our US distributor is currently clearing out all the "NOS" Nevaton so there are some pretty nice prices to be had right now on MC49 card, MC49 omni, MC416, MC51 and perhaps several others (no 400s though, sorry). Email me if interested - dirk@bigpurpledog.com - we may even be able to arrange for a 1-2 week demo as well...!
To toss in my 2 cents (or rubles, as the case may be) I would also pick a set of Nevs as my desert island pair. I've always loved the MC49 and they are a fantastic all around card. They would probably be my #1 pick, BUT a gig we did recently may have shifted me to the LDs...
We did a multitrack of a violin performance/presentation and used mostly Nevs. Some MC49, MC51 and MC416 in various roles in a close miking situation and we used the LDCs across the front of the stage for the fiddle player(s) and the discussion/narration. After the performance, the head of the local youth orchestra couldn't get to me fast enough to ask what in the world the mics were that we used! He said he was amazed at how natural they sounded both on the violins and on the voice parts! Before I could say anything, the house sound guy standing there next to me chimed in and said "yea they did sound great. I actually ran all of them completely flat from the start and didn't touch the EQ all night.". I thought that was pretty amazing. Listening to the roughs a few weeks ago in the studio the client was extremely happy with the sound of the strings and I hadn't put any EQ or effects on them at that point.
So long story short...after that experience I might have to go with a pair of MC416.