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Mics you / I own, what's good?


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OK Dr Mike, my apologies for wondering about UFOs full of Abominable Snowmen who reside inside the hollow Earth, waiting to save us from Armageddon. Rodak is waiting at the opening with death rays aimed anyway, we are doomed.

 

But, what's with the thread names displaying differently in All forums view vs just opening the thread?

 

I'm really more curious than anything else but I think this thread did very well with the original name and I'm skeptical about the new one to be honest.

So beans? Can spill? Or is more detective work needed? Cheers, Kuru

Each post in a thread can be given its own title, and if people do a quick reply, that new title will be copied to the replies. In this post, I've typed the original thread title back in, and all replies to this will have it. Simple!

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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OK Dr Mike, my apologies for wondering about UFOs full of Abominable Snowmen who reside inside the hollow Earth, waiting to save us from Armageddon. Rodak is waiting at the opening with death rays aimed anyway, we are doomed.

 

But, what's with the thread names displaying differently in All forums view vs just opening the thread?

 

I'm really more curious than anything else but I think this thread did very well with the original name and I'm skeptical about the new one to be honest.

So beans? Can spill? Or is more detective work needed? Cheers, Kuru

Each post in a thread can be given its own title, and if people do a quick reply, that new title will be copied to the replies. In this post, I've typed the original thread title back in, and all replies to this will have it. Simple!

 

Thanks so much!

It took a chunk of my life to get here and I am still not sure where "here" is.
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I am revisiting my Peavey 520i mic. I've had it for years, a long time ago I read in a forum that it was a sleeper mic. I dug up the Peavey spec sheet: https://assets.peavey.com/literature/manuals/80301951.pdf

It is a very good sounding microphone. With quite a bump from 3k to 7.5k and boosted from 2k to 7k and then another bump around 13 to 16k it's got it's own sound - too many tracks using it and it's not as easy to mix. This is more or less the point of different mics, we all have favorites but using just one mic can have it's drawbacks. 2 and a DI is much more versatile.

 

Anyway, I kept my eyes open and got one for $70. I don't know what they sell for now. Some prefer it to the nearly identical 520tn but I've never heard the latter.

 

I'd get another. Thinking about a windscreen, it's $38 and will fit my Heil PR40 too. For the close-in way I need to record, that could make 2 great mics much easier to use.

It took a chunk of my life to get here and I am still not sure where "here" is.
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I found a foam windscreen for $17 delivered. It's designed to fit an Audio Technica condenser mic and the inside diameter is enough to fit either my Peavey 520i or my Heil PR40 PLUS it has enough length to work on any similar diameter condenser mic I may end up with. For now, that will do the trick. I'll be the only one using it most of the time.

 

I checked Sweetwater today, the Aston Element mic I ordered still isn't in stock - probably due to the insane cold spell they are having back East.

So, I'll wait. I'm looking forward to it, will review it when I have some time with with it.

 

OK, so we've had 22K+ views on this thread, I think that's awesome! But, I know at least some of those views were from people who have microphones. Whatcha got and what do you love/hate about it?

We could all learn all sorts of fun stuff if more of you would make one simple post, c'mon now!!! Cheers, Kuru

It took a chunk of my life to get here and I am still not sure where "here" is.
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Well, I'm still waiting for my Roswells to come in, but I took my C451Bs to a demo session the other day for drum overheads. A tiled basement, no less, but still sounded great. Just got everything set up and running but we'll have a bit more time next weekend to do some more and dig in further. But they're great mics, I was fortunate to get the deal on them that I did.
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Well, I'm still waiting for my Roswells to come in, but I took my C451Bs to a demo session the other day for drum overheads. A tiled basement, no less, but still sounded great. Just got everything set up and running but we'll have a bit more time next weekend to do some more and dig in further. But they're great mics, I was fortunate to get the deal on them that I did.

 

Thanks Eric, that sounds awesome!

I've been at sessions where the 451s were used but have never used them myself. They are ubiquitous, there are a lot of them out there and for good reason.

 

You got the mixed pair of Roswell mics - K-47 and K-87? Looking forward to hearing how you like those and how they are different. Cheers, Kuru

It took a chunk of my life to get here and I am still not sure where "here" is.
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Hi All, new around here.

 

Microphones... always a fun thread. Home recordist here, so the studio facilities are a bit limited, but mics have a tendency to accumulate.

 

Getting into digital around 2001, I picked up a Marshall V67 (and then a second one) and for the money, they weren't terrible; certainly the heavy bodies are nicely made, but they do have that upper-mid hash tendency of cheaper China mics.

 

Then later I got crazy when living alone (long story) and I decided to "reward" myself with Neumanns. First the USM69 stereo mic (hell of a beast), then a set of used 184s (pretty much hated them) and a used 147 Cardioid tube (decent, but wasn't fitting my environment).

 

They've all been sold recently, although, had I had the acoustic space for it, the big 69 would have stayed.

 

Picked up a set of Fathead II ribbons years ago, and they are nice, but they need help with a Cloudlifter to come to life in the highs. I have gain enough, but the impedance helps.

 

Got two AKG 414 XLS about 2 years ago, love them dearly for most anything.

 

Ten days ago I got a Vanguard V13 Condenser tube mic for vocals, and it is glorious. Smooth, yet detailed; elegant sound, and well-built.

 

I wanted to "finish worrying" about small condensers for my instruments, so I ordered a set of Schoeps 641 hyper-cards (yet to be delivered)...now I am afraid I'll start collecting capsules :-)

 

I feel like I am finally "set" (famous last words). I have a big vocal mic, two 414s for stereo instruments or individual pickups, the Fathead ribbons for texture and room, and, eventually, the Schoepses for guitar and such. And a 57. I still like to browse, though....

 

C.

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Welcome Claus and great post!

 

Nice mics too!!! A friend mic'ed my guitar amp with a Fathead - I didn't really look at it to see if it was a II or not.

Playback sounded great, no Cloudlifter needed since it was getting hit with plenty of sound.

 

Love my Cloudlifter too.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Hi All, new around here.

 

Microphones... always a fun thread. Home recordist here, so the studio facilities are a bit limited, but mics have a tendency to accumulate.

 

Getting into digital around 2001, I picked up a Marshall V67 (and then a second one) and for the money, they weren't terrible; certainly the heavy bodies are nicely made, but they do have that upper-mid hash tendency of cheaper China mics.

 

Then later I got crazy when living alone (long story) and I decided to "reward" myself with Neumanns. First the USM69 stereo mic (hell of a beast), then a set of used 184s (pretty much hated them) and a used 147 Cardioid tube (decent, but wasn't fitting my environment).

 

They've all been sold recently, although, had I had the acoustic space for it, the big 69 would have stayed.

 

Picked up a set of Fathead II ribbons years ago, and they are nice, but they need help with a Cloudlifter to come to life in the highs. I have gain enough, but the impedance helps.

 

Got two AKG 414 XLS about 2 years ago, love them dearly for most anything.

 

Ten days ago I got a Vanguard V13 Condenser tube mic for vocals, and it is glorious. Smooth, yet detailed; elegant sound, and well-built.

 

I wanted to "finish worrying" about small condensers for my instruments, so I ordered a set of Schoeps 641 hyper-cards (yet to be delivered)...now I am afraid I'll start collecting capsules :-)

 

I feel like I am finally "set" (famous last words). I have a big vocal mic, two 414s for stereo instruments or individual pickups, the Fathead ribbons for texture and room, and, eventually, the Schoepses for guitar and such. And a 57. I still like to browse, though....

 

C.

Hi Claus, welcome and we hope you get a lot out of our little forum here!

 

Nice selections all around, and a good general tool set for moving forward. The Cloudlifter is a delightful box with many uses: I actually have one that gets moved around my studio as needed for my various dynamic mics and when I need a Hi-Z input for my Schecter (it's a Zi).

 

Vanguard is a great company and I'm glad you've discovered their mics. You can't go wrong with them.

 

Kuru, Cascade does make an active Fat Head -- it's possible that the one you used didn't need a Cloudlifter because it (effectively) had one built in.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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Hi All, new around here.

 

Microphones... always a fun thread. Home recordist here, so the studio facilities are a bit limited, but mics have a tendency to accumulate.

 

Getting into digital around 2001, I picked up a Marshall V67 (and then a second one) and for the money, they weren't terrible; certainly the heavy bodies are nicely made, but they do have that upper-mid hash tendency of cheaper China mics.

 

Then later I got crazy when living alone (long story) and I decided to "reward" myself with Neumanns. First the USM69 stereo mic (hell of a beast), then a set of used 184s (pretty much hated them) and a used 147 Cardioid tube (decent, but wasn't fitting my environment).

 

They've all been sold recently, although, had I had the acoustic space for it, the big 69 would have stayed.

 

Picked up a set of Fathead II ribbons years ago, and they are nice, but they need help with a Cloudlifter to come to life in the highs. I have gain enough, but the impedance helps.

 

Got two AKG 414 XLS about 2 years ago, love them dearly for most anything.

 

Ten days ago I got a Vanguard V13 Condenser tube mic for vocals, and it is glorious. Smooth, yet detailed; elegant sound, and well-built.

 

I wanted to "finish worrying" about small condensers for my instruments, so I ordered a set of Schoeps 641 hyper-cards (yet to be delivered)...now I am afraid I'll start collecting capsules :-)

 

I feel like I am finally "set" (famous last words). I have a big vocal mic, two 414s for stereo instruments or individual pickups, the Fathead ribbons for texture and room, and, eventually, the Schoepses for guitar and such. And a 57. I still like to browse, though....

 

C.

Hi Claus, welcome and we hope you get a lot out of our little forum here!

 

Nice selections all around, and a good general tool set for moving forward. The Cloudlifter is a delightful box with many uses: I actually have one that gets moved around my studio as needed for my various dynamic mics and when I need a Hi-Z input for my Schecter (it's a Zi).

 

Vanguard is a great company and I'm glad you've discovered their mics. You can't go wrong with them.

 

Kuru, Cascade does make an active Fat Head -- it's possible that the one you used didn't need a Cloudlifter because it (effectively) had one built in.

 

Thats a cool idea, listening to the recording the mic seems to do a fine job on a guitar amp. I'm wasn't super loud but as close as the mic was is probably not real quiet. Plenty of signal either way.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Alright - I'll play. Here's a list of mics I've bought or built:

 

Condenser mics

2x Shure KSM32 (T-less)

1x Shure KSM141 (T-less)

1x Rode K2 (Tube / T-less / OG Rode CK12 / NOS Amperex tube)

1x Rode NT1 (newest version)

1x MicParts S-25

1x MicParts T12 (in a lightly-modded MXL 2001 body)

 

Ribbon mics

1x Rode NTR (Transformer)

 

Dynamic mics

3x Audio-Technica Snare/Tom

1x Audio-Technica Kick/Tom

1x AKG D112

1x Heil Sound PR 35

1x Heil PR 30

3x Shure SM57

 

Uncool mics

1x Behringer ECM800 Measurement mic

1x Crown CM700 (SDC)

 

Here's an example of something I recorded, mixed, and mastered in a day with these mics: https://open.spotify.com/album/1BVFw44x4PdvrhdkIfGqcb?si=-TxDsGA7Q4SSltZKcnFeeQ

 

For that EP, I used the KSM32 in ORTF to get the OH drum sound. Used the cheapo AT mics on all the toms and snare, D112 inside on kick. Blended in samples w/ Addictive Trigger (have a method there to match the tone - could describe it if interested). I think I used the K2 on the vox; need to replace that mic, or maybe just get a new capsule for it. The T12 would likely have been a better choice; love that T12, but hadn't built it yet at the time. Bass went direct through a Little Labs Redeye as I recall. Didn't use the NTR, though I LOVE that mic. Still, you kind of need to track w/ a little top end boost cause vocalists want to hear that crisp sound. BG vox were all on the Heil PR 30; no reason, just kind of sounds a little "thin" when you have the singer pull back, and I wanted them to not be too full. SM57's on the two guitar cabs, live in the room (yes, you're hearing a TON of bleed into that OH mic from the guitar cabs.) Obvs overdubbed vox and bgvox later; used the PR35 and PR30 for main a bg while they were tracking.

 

Note that I do this all in a single day as part of this "speed mixing" thing I do just for fun, so no time to overdub anything except vox. They walked in the door and 6.25 hours later I was uploaded finished master to Dropbox; to do stuff that fast I have to use templates, edit really fast, have mics setup, not get too crazy about positioning, etc. Lots of thinking ahead.

 

Anyhow, happy to answer questions or get feedback; ask me anything!

 

(loving the thread - I should post my list of "mics I'm lusting after and why")

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Great post shaund!!! You have some nice toys.

 

I'm kinda burnt out right now so I didn't create a Spotify account and give your work a spin.

 

LOVE the idea of a Microphone Lust List! I have a short list of droolies and to be honest, I've only used one of these mics - the KSM9. I have the KSM8 and it's far and away one of my favorite mics. It doesn't jump out at you but it's nearly total lack of flaws starts to become compelling over time. Proximity and the even cardioid pattern deliver a consistency that is easy to love. Here's my Lust List - I have no affiliations with any of the manufacturers.

 

Stager SR-3

https://www.stagermicrophones.com

 

Beyer M88

http://recordinghacks.com/microphones/beyerdynamic/M-88

 

Roswell Colares

Roswell Colares https://roswellproaudio.com/products/colares

 

V-251 and V-47 kits with upgraded VPS1 PSU circuit and Gotham GAC-7 power cords.

https://microphone-parts.com/collections/microphone-kits

 

Shure KSM9

https://www.shure.com/en-US/products/microphones/ksm9

It took a chunk of my life to get here and I am still not sure where "here" is.
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I should also note that I'm a bit of a nutcase when it comes to unusual mic designs and applications.

 

(Actually I'm a bit of a nutcase the rest of the time, too, but that isn't directly relevant to this thread.) :wacko:

 

I have a thing for weird fun mics that have weird fun uses, and of all the companies deliberately making those, Placid Audio is on the top of my list. I've tried nearly every mic that Mark Pirro has made, and I own and adore a Copperphone Mini. One of these days I'd like to get a Carbonphone RU-80 just because I miss my original Carbonphone and it's kind of cool to own a mic that sounds better if you hit it several times.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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One of these days I'd like to get a Carbonphone RU-80 just because I miss my original Carbonphone and it's kind of cool to own a mic that sounds better if you hit it several times.

 

Why don't you make one from the carbon electrode from a zinc-carbon D Cell and a couple of pieces of metal? Sylvia Massy has one like that in her museum collection, a commercial model, in a nice wooden case.

 

What? You don't have any zinc-carbon D cells laying around? Check your flashlights that don't work any more. ;) You can probably use a piece of pencil lead and a couple of nails.

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^^Lol^^

 

Which reminds me, you can use a reverb tank as a horrible but cool sounding "microphone" and I want to try the mic that is inside my 12 string guitar, I bet it sounds bee-yoo-tee-full!

 

I visited a recording session of the amazing but short lived band Kaleidoscope. They had some really creative ideas, amplified acoustic instruments (as well as a few conventional electric guitars and basses to keep things a bit down to earth), and strange ideas. In kicking around a few things the evening when I was there, the saz player propped his amplified Dobro up against a large amplifier, played the saz through the amplifier, and took a direct output from the Dobro pickup. In that track, they made more use of the Dobro-as-a-microphone than the instrument driving the amp.

 

Same principle - not something you'd want to use for more than about half a minute in a record, but a sound that would make those like us wonder what that was.

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^^Lol^^

 

Which reminds me, you can use a reverb tank as a horrible but cool sounding "microphone" and I want to try the mic that is inside my 12 string guitar, I bet it sounds bee-yoo-tee-full!

 

I visited a recording session of the amazing but short lived band Kaleidoscope. They had some really creative ideas, amplified acoustic instruments (as well as a few conventional electric guitars and basses to keep things a bit down to earth), and strange ideas. In kicking around a few things the evening when I was there, the saz player propped his amplified Dobro up against a large amplifier, played the saz through the amplifier, and took a direct output from the Dobro pickup. In that track, they made more use of the Dobro-as-a-microphone than the instrument driving the amp.

 

Same principle - not something you'd want to use for more than about half a minute in a record, but a sound that would make those like us wonder what that was.

 

 

Exactly, With my 12 string I know that strings will resonate and you will have a mix of a vocal going into a relatively small, reflective chamber and the strings humming along, You could add that vocal to the bridge but not to the chorus or the verses. Still, it would stand out.

 

When I was in Jr High I used to prop open the upper lid of the upright piano, put my little guitar amp up there aimed at the strings and put a brick on the sustain pedal. Then I had reverb!!! It was glorious and made me want to play more.

It took a chunk of my life to get here and I am still not sure where "here" is.
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All good ideas, but I still like hitting my mic to make it sound better. Sue me.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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All good ideas, but I still like hitting my mic to make it sound better. Sue me.

 

Last spring I bought 2 AKG D224e mics. One of them had obviously been hit. It only kinda worked, sorta. There was a Sennheiser MD421 included in the purchase. It clearly had the crap beat out of it, sounds great.

 

Years ago a mic stand with my SM58 got knocked over and the mic hit concrete square on the ball end. Sounded fine. Then, my almost brother-in-law strung out junkie moron stole it and tried to trade it in at the music shop, a friend of mine was the salesman. Mr Junkie tried to scrape my name (engraved on the mic) off by rubbing the mic vigorously on the edge of the curb or something. It looked like crap. And still sounded fine.

 

I'm not judging, beat your microphones all you want. YMMV. :laugh:

 

That said, do not dip them in water to get a "wetter" sound. Plugging them directly into wall current to charge the elements will not be of benefit either, do not ask me how I know this...

It took a chunk of my life to get here and I am still not sure where "here" is.
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  • 2 weeks later...

Late yesterday Sweetwater contacted me to let me know my Aston Element mic had shipped.

I ordered it in early Feb even though they were out of stock. I didn't ask them any questions so I can't and don't blame them for not answering.

When I did ask my sales rep said they expected them March 10th and I was fine with that.

 

I should have it next week, Tuesday evening if it stays on schedule. I'm looking forward to hearing it.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Let us know what you think! I'm very curious.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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Let us know what you think! I'm very curious.

 

So am I!!!!

It arrived today. I've looked at it. I'm in the middle of setting up a different studio space. I started with a bare room (carpet) and I'm trying to keep the clutter down and have the most efficient space for what is often an Army of One.

 

Plus, " Daylight Get Up Stupid Early Time" is not quite settled in yet. I'll get used to it but it always takes a while.

 

So far, it's sort of a clever but homely little thing. I didn't buy it to look at it so I should know how it sounds by this weekend. In general I am a fan of dynamic mics.

They work well when there is background noise. A good condenser mic can record a fly farting 10 feet away and you can tell if it is a male or female fly. A dynamic won't pick that up at all.

 

The shock mount and pop filter fit nicely. They don't seem sturdy but they don't need to be, the mic is not real heavy and won't be getting bashed around. I do like the way the shock mount attaches to the mic, it's super easy and clever. The magnetic pop filter just "pops" right on too.

 

I'll be back soon and share what do and do not like. The latter will probably be a short list.

It took a chunk of my life to get here and I am still not sure where "here" is.
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A review that I read of the Element recently enough to remember made me wonder just what the "Ridyon capsule" really is. The reviewer quotes Aston as "it's a unique trademarked design that behaves somewhat like a dynamic, ribbon and a condenser mic. The mic's 'active-moving-coil-diaphragm' delivers high end condenser mic sensitivity and performance with the punchy bass and rejection capability of a great dynamic mic and the open, natural sound of a ribbon."

 

So what is it, really? A condenser? A dynamic? A bird? A plane? There have been a few dual element mics with both a condenser and a dynamic element behind the grill, but it sounds like they're talking about something different here. Or maybe that's the marketing. This is the sort of thing that, when reading a review, makes me say "WHAAAATTT?"

 

I wonder if they've made a very light (condenser mic light) diaphragm and, instead of a continuous metal sputtering on it, printed a flat coil that's in essence a ribbon (as in Christmas wrapping ribbon, not ribbon mic) and also serves as the coil of a dynamic mic like that in the Fostex "Printed ribbon" mics. They might be able to combine the output of the condenser and dynamic parts of the capsule. An interesting idea.

 

Can you get it apart enough to take some pictures of the guts? If I were the reviewer, that's what I'd do. As a paying customer, though, I'd be cautious.

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A review that I read of the Element recently enough to remember made me wonder just what the "Ridyon capsule" really is. The reviewer quotes Aston as "it's a unique trademarked design that behaves somewhat like a dynamic, ribbon and a condenser mic. The mic's 'active-moving-coil-diaphragm' delivers high end condenser mic sensitivity and performance with the punchy bass and rejection capability of a great dynamic mic and the open, natural sound of a ribbon."

 

So what is it, really? A condenser? A dynamic? A bird? A plane? There have been a few dual element mics with both a condenser and a dynamic element behind the grill, but it sounds like they're talking about something different here. Or maybe that's the marketing. This is the sort of thing that, when reading a review, makes me say "WHAAAATTT?"

 

I wonder if they've made a very light (condenser mic light) diaphragm and, instead of a continuous metal sputtering on it, printed a flat coil that's in essence a ribbon (as in Christmas wrapping ribbon, not ribbon mic) and also serves as the coil of a dynamic mic like that in the Fostex "Printed ribbon" mics. They might be able to combine the output of the condenser and dynamic parts of the capsule. An interesting idea.

 

Can you get it apart enough to take some pictures of the guts? If I were the reviewer, that's what I'd do. As a paying customer, though, I'd be cautious.

 

As near as I can tell, it's a large diameter, thin membrane moving coil dynamic mic with active electronics. I've got a Heil PR40 large diaphragm dynamic mic and it does have some "condenser-ish" tendencies in the tones.

 

If the active electronics in the Element are a like a Cloudlifter, that is a real game changer for dynamic and ribbon mics. One thing I noted, both in the specs and the review is that the noise floor is incredibly low.

 

I plan on firing it up this evening and seeing how I like it. Honestly, I have no idea how it's made. I know they made the body in two halves to reduce labor/assembly costs. Somebody will pop one open and spill the beans without me doing it.

 

I don't see an "Patent Pending" or Patent number anywhere, that should tell you something (I will admit I don't know what though!!!)..

It took a chunk of my life to get here and I am still not sure where "here" is.
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Due to popular demand, I fired up my new Aston Element tonight.

 

I plugged a Steinberg UR22 MkII into my laptop, plugged in the Element, brought up an armed track in Waveform and listened with a pair of Sennheiser HD280 Pro headphones.

 

I didn't record and listen back - which is a better way to assess a recording mic. I will always try a mic this way too so that's out of the way. Handling noise isn't bad, hand held I could keep from making any mic noise. I was out in the living room, there is a constant flow of traffic sound from I-5 close by.

 

I do like the purple LED on the business side. It is bright enough to see in bright light but will not blind you. Makes it easy to sing into the correct opening, nice.

 

Without the pop filter you have to be careful about distance and positioning. Up close and straight in you will get plosives plus and sibilance aplenty. This is not unusual at al, no dings on the Element.

The proximity effect is notable, so is the depth and clarity of the low frequency boost when you get close. You can sound HUGE but not boomy or indistinct. I get the impression I'll be able to sing effective low harmony parts and they will sound musical.

 

Back off a bit and it evens out, still a full, rich vocal tone, still some sibilance and plosives. I didn't try back a foot or so, external noise would not allow that in any case.

 

Off axis still sounds big, defined and very good. It reduces the unwanted vocal sounds considerably. I could find a way to use it.

 

OK, pop filter on. First, I like this pop filter, it is compact and the magnets hold it in place with no problems. Best of all, it really improves the overall sound. You can still make it pop and spit but it's reduced to a sane level. Great accessory and it comes with the mic package, a fine addition.

 

Last but not least I used a large foam windscreen I have. This is the first mic I've tried it on that sounded sort of muffled, a darker sound. There are still plenty of high frequencies but proximity effect overwhelms them. When I finish putting the studio back together I'll try it again with a HPF on and see how it records.

 

There will be more to come on this mic. I will record something and listen back to see how it sounds when I am not listening to my own voice coming out of my pie hole.

I hope to get my friend Krista over here soon, she can really sing and I have a feeling she will like this mic.

 

I'm keeping it.

It took a chunk of my life to get here and I am still not sure where "here" is.
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When you're ready for a 2-mic setup, put it along side your D-224. The D-224 is often described as sounding more like a condenser than a dynamic, and that's sort of what Aston's blurb suggests.

 

Or maybe what it's trying to suggest is that you can use it successfully in situations where you'd choose between a condenser mic or a dynamic mic. I don't make blanket choices like that, though I 'm more inclined to make a decision between using, say, a U87 or an SM7 on a narrator after hearing his or her voice. I understand, though, that many newcomers to recording today like to take advice on mic selection from people who have never heard the specific who, what, or where that's about to be recorded.

 

If you'd use the Element in situations where you'd use the D-224, that would be something in its favor.

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I'm with you, Mr. Rivers - I like mics because they sound good for what I am trying to do.

 

I mention Krista above, she is a fine singer and fun to work with. Early on, I chose 4 different mics I wanted to try for her voice.

 

I remember 3 of them now, have forgotten the 4th (maybe is was a Sennie MD 421...). I had a Neat King Bee (large diaphragm condenser), a CAD D82 ribbon mic, and a Shure KSM8 moving coil dynamic.

i'd put one up, she'd sing a verse and chorus and then we'd switch.

 

I knew which one I preferred when I had cans on for tracking. I didn't say anything, played them all back to see which one she liked. I pretended I was deciding then too.

She chose the same one - KSM8, the CAD D82 was her second choice. They did all sound different.

 

I think I mentioned to you that I could mic the sound hole straight in with the D-224? It didn't sound boomy or crappy like all mics are supposed to (and pretty much do in my experience).

So I am not sure how much it sounds like a condenser mic since they probably wouldn't have worked as well in that situation.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Well, I never said that the D-224 sounded like a condenser, but the reason why I got my pair was because I wanted to use condenser mics for stereo recording because that's what everyone else did, but the recorders that I could take into the field (that is, carry) other than an occasional Nagra borrowed from the Library or Congress or the Smithsonian, didn't provide phantom power. I had a pair of Sony ECM-21 condenser mics that had an internal battery (and sounded like the $50 in 1968 condenser mics that they were), and my early version U87s can run on batteries, but that's not a mic that I wanted to take out in the field or use as a stereo pair. A friend had a couple of D-224s and he showed them off to me one day. We played some guitars and banjos into them as well as his Neumann KM84s, and I thought "Hey these sound just about as good as those KM84s I wish I could afford."

 

So, they worked, and still work, for me.

 

One of the reasons why you can point them at the sound hole of a guitar and they don't get boomy is because the boomy part is 5 or so inches behind the front grill, so it's like pulling the mic back that far but not losing level or brightness. They had, I think three mics in that series but they've all been out of production for a long time now.

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