Mics you / I own, what's good?

[KuruPrionz]

Tonight I plugged straight into the Quantum and monitored with headphones in Waveform.

I put the mics on a small stand on my desk. 3 mics I built from kits - Microphone Parts. No affiliation, people mention brands here all the time, this is a good one too.

 

First the mod kit - the MXL 990 XF, a JFET transformer design with intentional 2nd order harmonics. The capsule is an RK47, the rear capsule has not been gold plated and is silent with no wire.

This is a smooth, clear medium high output microphone. Proximity effect is very usable, it doesn't get boomy or muddy - the notes remain clear. It is a large diaphragm condenser, plosives are impressive and avoidable.

Sibilance is pretty well controlled by a bit of distance and the non-peaky trebles. I like it.

 

My second build was the new T-67 kit, both the RK67 cartridge and the premium Platinum" transformer option are new. Other than some vision/perspective issues - being farsighted and using magnification are both new to me and awkward sometimes - I enjoyed building this mic. The best part is using it, this is an excellent sounding microphone in all respects, low noise, very sensitive, clear and full sounding from a reasonable distance. I loved the way my voice sounded. A keeper.

 

Tonight I finished the third kit, I plan on going back and dressing a few leads but the circuit is complete and the mic works well. This was a mod kit for a Groove Tubes GT-55. I had one to use for a donor. The capsule is he RK-12, an emulation of the AKG C-12. The circuit is the T84-55 with the T6.5 transformer, which delivers the highest level of second order harmonics of any circuit they offer. I went my own way and installed the kit in an MXL 1006 BP body that I had. This was possible because the structure rails inside the mic are very similar in many ways between the GT and the 1006. I had to bend the rails a small amount and then it worked well.

 

I don't know what it would be like to build the Groove Tubes mod, I'm sure it's very doable. What matters is the results - this mic is very high output but still clear and "huge sounding" - proximity effect is pronounced but beautifully controlled. It's like having another voice! Pops and sibilance need careful technique, this mic will do both of those things. I'll try a pop filter and/or some distance. Putting the mic a little lower or higher can fix a lot of it as well, the sound is still very clear and full. Currently this is the mic I plan on using the most for my own songs.

 

I could use any or all of these and be happy with the results so that may happen too. It may be a good long while before I build another mic but I am glad I did it and grateful that the opportunity exists. If you have some soldering skills I and would like to own a great microphone this is a great way to make that happen.

[KuruPrionz]

Back to my third mic kit build. I dressed the leads, cleaned things up and covered the specified solder joint with conformal fluid to protect against long term corrosion

 

I fired it up again tonight and I am just amazed and thrilled at how great it sounds on vocals. This will become a staple in my recording, no two ways about it.

See attached photos.

[Mighty Motif Max]

I recently bought a pair of Antelope Audio Verge SDC mics during the holiday sales for $50 each. I've tried them out on my accordion in stereo as well as on some baritone/tenor range vocal tracks and acoustic guitar (all three are applications that I'm familiar with how my other mics function in), though I realize that SDC's on vocals are maybe not their strong suit. I must say I'm rather disappointed. These usually go for $200 each. Part of their marketing is their (iLok stick required) mic modeling plugin that you get a license for with each mic. I'll comment on that in a minute.

 

The overall sound of the Verge mics is rather rolled off and dull. On my accordion recordings they took around 60% of the highs out, maybe strongly rolling off around 11 kHz to my ear. I had to (pardon the phrase) EQ the crap out of the recording to get it to sound like the accordion in the room, while my Presonus PM2 mics (which are roughly half the price) and Audio-Technica AT-2035 mics both are much more accurate. Even my live show dynamic mics, a Shure SM57, Carvin CM67 (the newer model), and an older EV ND257B, don't seem to affect the sound as much. Not that those mics are perfectly flat or anything, but basically the Verge mics sound the worst out of any mic I have used, on every source I've tried them on other than maybe vocals where they're tied with the SM57 (but I don't like the sound of a 57 on baritone/tenor vocals anyways due to its midrange bump). Even on acoustic guitar the high-end rolloff was obvious. They're rather gain-hungry mics as well.

 

Here's a comparison with and without EQ. This is how the accordion sounds in the room and how it SHOULD sound naturally, with a good deal of EQ applied (and some reverb, that's it). This is the AFTER.

 

[video:youtube]

 

Now here's the raw un-EQ'd sound of the mics (no processing at all). Different performance of the same piece. Note that it is at a lower volume, and the left and right channels are swapped as I didn't edit the audio to pan them to correspond with the video. This is the BEFORE.

 

[video:youtube]

 

 

 

On to the mic modeling plugin, Verge Emulations. It definitely changes the character of the mics, and there are a variety of mic emulations one can choose. Even with that to jazz up the sound I was really underwhelmed. I've always found it's harder to add back something that's not recorded than to cut something that's already in the sound, and that seemed to once again be the case here. It's maybe a little harsh to pull out the "you can't polish a turd" comment as these mics aren't THAT bad to that degree, but they're just very underwhelming.

 

The mic holder adaptors they come with use little bands in a criss-cross pattern to hold the mic in place, but I'm not convinced they'll hold up to much use as the bands are kind of flimsy and seem like they would just snap eventually.

 

Positives: The Verge mics are really not boomy or muddy. If their high-frequency response was significantly better they'd be a great mic. The build quality is pretty good. They look GREAT. If you can grab them at $50 each they might be okay. At $200 each, no way.

[KuruPrionz]

Great post! Thanks Max for your review and your samples. I put headphones on and listened to both versions - nice work on the accordion!!!!!

 

If the bottom clip is the "before" and the top clip is the "after", I see why you are not really impressed.

 

I haven't found my magic SDC yet. I have a Shure Beta 87a, which has been a good live vocal mic for me for many years. I also have an Audio Technica MB 4000 C that I found in the tools at Goodwill for around $3. It works fine but I don't quite know what to do with it. The low end rolls off around 100 hz so it will never sound "big" but it might be great for backup vocals or some acoustic instrument tones.

 

I do have 3 Audio Technica AT841UG boundary mics that I recently purchased on eBay, a "victim auction". I've tested them all and they have a clear, full and bright sound and a low noise floor. I need to mount them onto panels to use them as intended. I got the lot of 3 delivered including tax for $53, one of those deals you can stumble onto once in a while.

 

I do have a pair of the original Neat Worker Bee mics, got those from Sweetwater for $90 each. Apparently there is a new version, Sweetwater has that for $99. I use a pair of those to record acoustic guitars, etc. and they'e worked well and sound good. https://www.sweetwater.com/store/detail/WorkerbeeMk2--neat-microphones-worker-bee-ii-medium-diaphragm-condenser-microphone

 

They've brought the King Bee back too and the price is really good - https://www.neatmic.com/bee/king-bee-ii-microphone/

 

Plus they are not nearly as hideous as the originals mics. I have a pair of the King Bees and those are great mics, high output and they pick up EVERYTHING. You should be able to get closer to your sound with either of the Bees without too much strain on your budget.

[Mighty Motif Max]

Great post! Thanks Max for your review and your samples. I put headphones on and listened to both versions - nice work on the accordion!!!!!

 

If the bottom clip is the "before" and the top clip is the "after", I see why you are not really impressed.

...

 

Yes, the bottom clip is the "before" and the top is the "after". I edited the post to clarify that! I didn't use any of the mic modeling stuff on either recording, so it's just how the mics themselves sound.

[KuruPrionz]

Great post! Thanks Max for your review and your samples. I put headphones on and listened to both versions - nice work on the accordion!!!!!

 

If the bottom clip is the "before" and the top clip is the "after", I see why you are not really impressed.

...

 

Yes, the bottom clip is the "before" and the top is the "after". I edited the post to clarify that! I didn't use any of the mic modeling stuff on either recording, so it's just how the mics themselves sound.

 

 

I'm big on mics that sound great without any additional processing. It makes a huge difference. It has taken me a while but I finally have some nice sounding mics that I want to keep. Recently I built 3 mic kits from Microphone Kits.com and they are all fantastic. A bit of tedious work building them but not all bad and the results are more than worth it. Whatever frustrations I may have had building, all I do now is smile.

[KuruPrionz]

Tonight I was asked to jam with a combo that I will be recording soon. They are talented, not really my thing but it will be a good result eventually.

They wanted to try out my studio mics at practice. I explained why that might not work so well but they wanted to anyway.

 

The first mic was feeding back before it could be loud enough. The person adjusting the mixer may not have had any idea what they were doing but I let it go and we gave up after failing to get the first mic running. I knew everything would change when we switched to headphones and recorded straight in. Then they will hear the glory instead of feedback and not so good sounds. Lead singer has a Neumann vocal mic that is probably plenty good enough anyway and she knows how to use it.

 

Happy people give better performances, mics are secondary at best in that scenario. Just keeping it real.

[Mighty Motif Max]

Happy people give better performances, mics are secondary at best in that scenario. Just keeping it real.

Absolutely. Just look at the lower-quality recordings we have from 60, 70 years ago and earlier, due to technological limitations. The musicianship and feeling/expression still comes through (though when you get back to wax cylinder days or '20s recordings it can be harder due to the sheer tinniness of the music). Virtually any recording gear these days will sound better than what was available in the '30s.

 

That said, better mics will make a great performer sound better as long as the given mic is well suited to the performer's sound. However, better mics that don't work in the given scenario are kind of pointless IMO. I used to actually use an AT-2035 LDC mic at smaller live gigs for the accordion. It sounded great. However, a few years back I switched over to just using an EV dynamic and a Carvin dynamic (the EV is brighter and I use it for the treble side of the instrument, while the Carvin is darker and stays with the bass side, they match well for that application), and in all honesty I'm less stressed about watching out for feedback or phantom power issues anyways. And they're FAR better for windy outdoor gigs, which I have had more and more of lately lol. And they are less fragile (not that I'm not careful but there are other people to take into account :wink:).

[KuruPrionz]

^^ I'm with you on using dynamic mics for gigs. They can take whatever you throw at them and still sound fine.

Most of the time I intentionally use less expensive microphones for live performance. I need a certain level of quality but there was an event many years ago where the band wasn't paying enough attention after the gig and 3 SM58s just disappeared. So , while my Shure KSM8 is my best dynamic vocal mic, it's expensive and I take an EV ND767 for live gigs. That's a good mic, got it at a Guitar Center close-out price of $50, can't beat it.

 

Same with guitars, etc. I can slap a Strat together out of parts and bring that. As long as it looks presentable, I can get a great sound out of it. All I need and less to risk.

 

You managed to get a nice sound out of those mics by dialing them in on your DAW, maybe it isn't the sound that's in your head but it does sound good. Keep at it. Nothing wrong with trying different mics but most places won't take returns on mics so it's trickier than other purchases.

 

That was one of my motivations for starting this thread, a place where we can compare mics so it's easier to make choices.

[KuruPrionz]

Just for fun, I am watching this auction for an AKG C12 microphone. A bit above my pay grade!!! No affiliation of any sort with Vintage King, AKG or pretty much anybody.

 

https://www.ebay.com/itm/403406962595?hash=item5decedbfa3%3Ag%3Ae10AAOSwis1h3wPp&LH_ItemCondition=3000

[KuruPrionz]

Tonight I tried mic'ing 2 guitar amps, one with an Aston Elements mic and the other with an RK-47 and JFET / Transformer circuit modded MXL990. 

 

Both of them failed to deliver the sound I was hoping for, I'm out of options for space-saving side address microphones. 

Back to front address dynamics, will have to figure out the space deficit. I already know I love the Sennheiser MD421 on guitars and I suspect a number of other mics. EV PL95 has done well in the past too. 

[eddieksongs]

Hi friends!

First post, so why not ask the important stuff--

The only mic I've ever used in my studio is a Audio Technica AT4033. I've had it since 1991.

If I was to buy another (let's say for under $400), and I was looking for something to "warm up" my vocals-any suggestions?

Cheers-and thanks!

[KuruPrionz]

On 3/1/2022 at 2:20 PM, eddieksongs said:

Hi friends!

First post, so why not ask the important stuff--

The only mic I've ever used in my studio is a Audio Technica AT4033. I've had it since 1991.

If I was to buy another (let's say for under $400), and I was looking for something to "warm up" my vocals-any suggestions?

Cheers-and thanks!

Welcome to MPN!!!!

A dynamic or ribbon mic will "warm up" vocals compared to most condenser mics. 

Three that I like and should be in your price range - Aston Element, Heil PR40 and Sennheiser MD421.

Lots of singers LOVE the Shure SM7, many are using a Cloudlifter or Cathedral Pipes pre-preamp with those to bring the level of the signal up higher. 

[KuruPrionz]

I've been tracking with a cheap acoustic guitar and an AKG D310. Both the guitar and the mic are bright and pretty thin sounding. 

Oddly enough, the results sit nicely in a mix. I like it. 

[KuruPrionz]

I found a TONOR cardioid condenser mic at Goodwill for $3.

It works fine and sounds pretty OK. Not too bright and not "big" sounding.

It is side address and pretty light. That is going to become my bar gig guitar amp mic. I'll bring an EV PL95 as a backup but I can hang the TONOR from the handle of the amp using the cord to dangle it in front of the speaker. That's an easy set up.

 

It's nice when we get something excellent but there could be a use for something that's good enough and this fits that bill nicely.

 

Anybody else get anything fun lately? 

[KuruPrionz]

I did some tracking with a Blue Encore 300 - cardioid small diaphragm condenser mic. 

The mic provides a higher gain than equivalent dynamic mics, it's loud but sounds good. 

Sensitive to plosives and sibilance, my best performance was to put it about at forehead height and back about 12 inches. 

That will pick up external sound but the tone and clarity are nice. 

 

I've gotten closer and sang at an angle too. A little harder to get a clean take, very sensitive to all mouth noise. 

 

What did you do that was fun and used a mic?

[KuruPrionz]

Anybody own any Rauland mics? I found a couple at the thrift store - $7 each. 

Heavy, solid and to my eye they look like maybe they were made by Electro-Voice as a jobber long ago. USA made, sort of SM57 or 58-ish. 

I haven't found much about them online. 

[KuruPrionz]

Here's a photo of one of my 2 Rauland mics. Model is 1285 - both of them. Not a lot if info online, I guess Rauland was not a big name in microphones.

It's pretty OK, would probably be really nice for a guitar amp mic. 

[KuruPrionz]

Tonight I was working with a Blue Encore 300 for vocals. I put a foam windscreen over the business end.

I had it set below my chin and pointing 45 degrees upward. I sang over it and about 4-6 inches back. 

I'm not the best singer, the mic added welcome low end and clear highs. Keeping back and the windscreen eliminated plosives and sibilance. 

I'm going to keep working with this mic and see what comes of it, I'm liking it so far. 

 

I tried it with a Fishman Loudbox Performer too, it sounded great there as well. I will use it for my gig mic moving forward. I still like the EV ND767 for live vocals but I want to learn this one too. 

[David Emm]

I have a mini-plugged, solar-powered Sony mic the size of my pinkie (for interviews & staff meetings, I'm sure) and an SH-something by Shure on a tabletop stand. Its in a plastic bag, attached to 20 feet of cable. My need for a mic slowly evaporated as I got sucked in by the Kraken of softsynths. Therefore, I have exactly the mic capabilities I need.

[KuruPrionz]

3 hours ago, David Emm said:

I have a mini-plugged, solar-powered Sony mic the size of my pinkie (for interviews & staff meetings, I'm sure) and an SH-something by Shure on a tabletop stand. Its in a plastic bag, attached to 20 feet of cable. My need for a mic slowly evaporated as I got sucked in by the Kraken of softsynths. Therefore, I have exactly the mic capabilities I need.

I envy you, I still try to sing and I try singing with different mics. I do have a few I plan to part with but sometimes something I hate turns out to be useful. 

They do make a difference, on everything you record. 

I recently discovered that using an AKG D310 (bright, harsh sounding dynamic mic) on a $20 piece of crap guitar would give me a way to play blues that sounded more like the old records, and a also great sound for rock or country strumming if I strum with my fingers over the soundhole. 

It sounds horrible by itself but it drops right into a mix. So I'm keeping that mic, it's gotten compliments from people who should know better. 😳

[David Emm]

14 hours ago, KuruPrionz said:

I envy you, I still try to sing and I try singing with different mics. I do have a few I plan to part with but sometimes something I hate turns out to be useful. 

They do make a difference, on everything you record. 

I recently discovered that using an AKG D310 (bright, harsh sounding dynamic mic) on a $20 piece of crap guitar would give me a way to play blues that sounded more like the old records, and a also great sound for rock or country strumming if I strum with my fingers over the soundhole. 

It sounds horrible by itself but it drops right into a mix. So I'm keeping that mic, it's gotten compliments from people who should know better. 😳

 

Heh, I hear you. Its very subjective, too; solid arguments can be made from several positions. It took me a few years to finally realize that if you played in any form of real-time, having about 6 or 7 different mics was the bare minimum. More was often better, much like you describe. Its quite similar to loving a particular guitar or synth for hitting the sweet spot.

[KuruPrionz]

19 minutes ago, David Emm said:

 

Heh, I hear you. Its very subjective, too; solid arguments can be made from several positions. It took me a few years to finally realize that if you played in any form of real-time, having about 6 or 7 different mics was the bare minimum. More was often better, much like you describe. Its quite similar to loving a particular guitar or synth for hitting the sweet spot.

Yeah, I've given up on having "one great vocal mic" and another that "sounds great on everything".

Maybe they exist but you might have to own everything and try them for everything to find out. 

The main thing I care about now is the noise floor, I can find a way to use anything if it isn't too noisy.

[bill5]

On 3/1/2022 at 5:20 PM, eddieksongs said:

Hi friends!

First post, so why not ask the important stuff--

The only mic I've ever used in my studio is a Audio Technica AT4033. I've had it since 1991.

If I was to buy another (let's say for under $400), and I was looking for something to "warm up" my vocals-any suggestions?

Cheers-and thanks!

Agree with trying a ribbon if it's warm you want. I hear a lot of good things about the No Hype LRM models, easily within your price range. 

[KuruPrionz]

I've been circulating through my mics, recording and listening to see what I like the best.

Lately I've been using a Heil PR40 with a Stedman pop filter in front, partly to maintain a distance that allows a full range response - too close is too bassy and too far back isn't full sounding. 

I like it, it's been a great vocal mic for myself and others, smooth, full and clear. It doesn't pick up much if any background noise either, less than my condenser mics. 

It's made it to the short list, a keeper. 

[Rene Asologuitar]

Love this thread.

I love the old-reliable Shure Sm-58, and also love the Ear Trumpet Labs "Edwina" which I am using for recording vocals.

Rene

[KuruPrionz]

4 hours ago, Rene Asologuitar said:

Love this thread.

I love the old-reliable Shure Sm-58, and also love the Ear Trumpet Labs "Edwina" which I am using for recording vocals.

Rene

I've had SM58s and used other people's on stage many, many times. 

A reliable standard, no doubt about it. That said, I'll try to spoil you - see if you can try a Shure KSM8 sometime. It's like a highly refined SM58 with no proximity problems - you know how you can get too close to a 58 and it BOOMS? The KSM8 does not do that. It also does not thin out if you back off a bit or sing from a bit of an angle, they really knocked off the rough edges. 

Downside is they cost more. I recently bought a nearly new one in nickel for $200, that's a good price if you can find one. I had a black one already. 

[KuruPrionz]

Oh and I've haven't tried an Ear Trumpet Labs microphone but I saw a duo once that used a single Ear Trumpets mic, not sure which model. 

He played mandolin and sang and she played standup bass and sang and that single mic got everything sounding good through the PA without a trace of feedback.

They were not really loud but they didn't need to be. They did sound good and we could all hear everything. 

 

I would like to try one someday and probably will. 

[KuruPrionz]

Over time, I try different mics and different combinations. 

Since I am mostly an Army of One, I am choosing the mics I want to keep and reducing inventory. 

It can take time to assess different mics, I think it's not a bad strategy to buy, try and keep or sell. The key is buying at a decent price so you can break even at least. 

 

Currently, I've sold all 4 (2 each) of my Neat King Bee and Worker Bee mics. Nice mics but the mics I built from Microphone Parts kits out-perform them. 

Some friends are enjoying them now. 

 

I've been recording vocals using a Heil PR-40 with a Cathedral Pipes pre-preamp and a Blue Encore 300 together behind a Stedman pop filter. 

The Heil is the primary vocal sound and I'm doing a high pass on the Blue and adding some harmonic distortion - then blending just a bit of it back into the mix under the Heil. 

It adds a bit of space and clarity without sounding distorted, pops the vocal up front in the mix. I plan on keeping both of those mics. 

[KuruPrionz]

The mic I am currently enjoying the most is a kit mic from Microphone Parts. 

T-67, the T stands for transformer. I got the Platinum transformer in the first run last December. 

If you have decent soldering skills and a few essential tools, it's a fairly simple build. I did it in three sessions, took my time and followed the instructions. 

It worked great first time out and the more I get to know it, the more I think it is the best mic I own. It cost well above $400 but I think it's worth a great deal more than that. 

That one stays.