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Originally Posted by KuruPrionz
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!


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Originally Posted by Dr Mike Metlay
Originally Posted by KuruPrionz
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!


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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.


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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


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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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Originally Posted by MAJUSCULE
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


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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.


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Originally Posted by Claus H
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) grin
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Originally Posted by Dr Mike Metlay
Originally Posted by Claus H
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.


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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


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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.


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Originally Posted by Dr Mike Metlay
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. wink 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!


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Originally Posted by KuruPrionz
^^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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Originally Posted by Mike Rivers
Originally Posted by KuruPrionz
^^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.


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Darn clever!

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


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Originally Posted by Dr Mike Metlay
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...


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