#16
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"Don't know what t I'm gonna doooo,,,, I keep Fallin' in and out of love with you "
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 |
#17
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It certainly seems like an interesting mic and based on the curve it looks like it de-emphasizes the frequencies up around 2-3Khz. It looks like it also has good bass response, some have suggested maybe too much bass response, but most are addressing this with a high pass filter. - Glenn
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My You Tube Channel Last edited by Glennwillow; 02-25-2021 at 12:08 PM. |
#18
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Interesting... I didn't know what the differences were between the various color 421 mics! I'm going to remember that! The cream color is good! The black color, not as good. My 421 is black. I do hear that upper frequency rise in the response curve today now that I have gotten used to better microphones, but 30 years ago it just sounded a whole lot better than the microphones I had been using. The Internet has opened up so much more information for all of us today. And 30 years ago I could not have afforded the mics I have today, anyway. Thanks for your response! - Glenn
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My You Tube Channel |
#19
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Do you have any experience with SM81's and if so how do they compare to your NT5's for acoustic guitar? Thanks, George |
#20
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I have no personal experience with an SM81. From everything I know, the SM81 is an excellent SDC studio microphone. HERE is Shure's spec sheet and curve on it. It's got a very flat curve as you can see. It's down a couple of db from about 500 hz to 40 hz. but that is at 1 meter distance from the sound source. With the mic at 8" or so, there will likely be some bass boost from the proximity effect. Note there is no hyped up high frequency boost. It's very flat out to at least 18 khz. Here is a product review to give you some perspective. I would put the Shure SM81 a notch higher on the quality chart above the Rode NT5. This mic is a staple of professional, commercial recording studios. I imagine Bob and Brent could provide some feedback on this mic. - Glenn
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My You Tube Channel Last edited by Glennwillow; 02-26-2021 at 12:52 AM. |
#21
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I did record a test track yesterday with acoustic guitar and, while I think the result would work well as part of a busy mix, it wouldn't be a good choice if the guitar was a featured player. Unless--and I didn't test this yesterday--you're playing percussively, with a lot of snap. For harmonica, though? I might never use another mic. Basically, if you're looking for "smooth" and "clear" for sources that can potentially be harsh but whose top end is important, I think it's your ticket. |
#22
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This review page has been very informative. I'm afraid however that there are now many microphones in my future:
https://www.sweetwater.com/insync/ch...-mic-shootout/ George |
#23
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Lynn Fuston, who produces those shootout features for Sweetwater, is a veteran engineer who used to run an audio forum out of Nashville that I hung out at for years. A good guy who has semi-obsessively pursued the work of producing high-quality gear shootouts. (His 3D Audio Mic CD and Mic Pre CDs were legendary long before he arrived at Sweetwater.)
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Martin HD-28 Eastman E10OM Guild D50 Martin D12X1AE LaPatrie CW Concert |
#24
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Yes, Sweetwater does a good job with this kind of comparison. Also, very interesting comments from Nightchef about this. I'm going to review the Sweetwater comparison again, myself. I wish I had a review like this to refer to when I was looking for my guitar mics. This is really useful, I think! - Glenn
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My You Tube Channel Last edited by Glennwillow; 02-28-2021 at 10:39 AM. |
#25
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If only it was as simple as one microphone with a flat uncolored frequency response. What did we do before all of these choices? Oh ya, we played music. LOL. George |
#26
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I agree mics can be a slippery slope. There is always something better and they get expensive fast. That being said i have never regretted my pair of Gefell M300s. They are within my means, and at least now I know the Mic is not the weak link. Those Warm Audio 84s look cool. I have thought about getting a pair for a second set of small diaphragm condenser’s
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http://wwww.celticfingerstyleguitar.com Albums: The Isolation Waltz Noone Lasses Youtube Music on Spotify |
#27
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I have enjoyed my Warm Audio WA-84 mics. For the cost of $750/pair, the WA-84 seemed worth a try to me. They are a very notable improvement over my Rode NT5 mics that I have used for many years, and I'm very glad I made the investment. - Glenn
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My You Tube Channel |
#28
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I also want to plug a worthy competitor to Warm, Vanguard, which is also making high-quality mics at reasonable prices. I haven’t tried their pencil condenser, the V1, but their multipattern tube mic, the V13, is wonderful.
https://vanguardaudiolabs.com/products/
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Martin HD-28 Eastman E10OM Guild D50 Martin D12X1AE LaPatrie CW Concert |
#29
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When you guys find a microphone that works for you does it tend to be closer to the sound you want without eq or does it tend to be a mic that “take eq” better to give you what you are looking for. I started off making the mistake of not finding out what a given mic would sound like after I finished processing the track. Some sound better to me by say brightening them up vs a mic that starts off brighter but harsher.
What say you guys? George |
#30
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Aloha George! The Ride Was Worth The Fare!
Aloha George,
Good questions. For over 40 years, I was a hopeless, high-end mic addict. I started harmlessly out on cheaper mic's (under $1K). Then moved up to 'gateway' mid-range mics (over $1K). I saved & built a bank-roll, using gig & CD-sales money only, nothing from my day job...& went to "work." Most importantly, I quickly figured out the markets, locations & players in an intense game, & spent years auditioning, trading & buying, or simply trading up the highest-end mic's ($10K-$50K), & bigger players, looking for the grail for me. It started with some basic needs: 1) I'm blessed/cursed to have a great pair of trained ears that are still pitch perfect, even today at 76, 2) As a luthier in the 80's, I needed to capture the best raw sound of my many acoustic instruments, and 3) For over 50 years, I was an almost nightly gigger who was always looking for "my best" sounding live & studio mic's for the recordings I made for sale at gigs. LIVE was always my main focus Although I did appear on others' recordings from time to time, on the different instruments I made, I only limited-released a couple of my own album/recordings of original music. From those basic acoustic needs grew the absolutely satisfying, wildly fun & worthwhile mic addiction that continued for decades until......I auditioned the Schoeps CMC6 w/ MK-41 hyper cardioid capsules (& many other capsules in their modular approach). For me, my ultimate SDC search ended right then & there, George. Raw or processed, the very balanced & natural, amazingly-detailed, & always musical sound that a matched pair of Schoeps captured, for me - on all my instruments, was the absolute closest to the sound inside my head AND in my ears - always. A very different mic, the Microtech-Gefell M295 cardioid w/ metal diaphragm was also hugely satisfying in capturing my raw acoustic sound. But its metal caps did not like the high humidity of Hawaii..... Great mic's though! For my vocals, I played "heavy high-end" there for a long time, refusing to believe that my voice was the lowest common denominator in my recording studio signal chain. HA! I went through U47's & 48's like they were SM-58's at one point there, spending a whopping $17K for one old 50's U-47 (found in Germany) that was owned & used by Frank Sinatra on his Columbia recordings. Had it for a couple months, enjoyed its smooth lower mid's, then made a $2K profit on it in Japan & moved on to...... My ultimate studio LDC vocal mic: the Microtech-Gefell UM-900, an incredible Art Deco-designed, variable 5-pattern beauty with everything my voice could ever want or need. The only tube LDC ever that ran on 48V phantom power, not an external power supply! Combined with a Pendulum MDP-1a tube preamp, the UM-900 always put me into acoustic nirvana in my little, but really well-planned & treated home studio. Living alone up in the rainforest, I'd spend weeks up there blissing out on those mic's. And at just-under $5K, the new UM-900 wasn't nearly as expensive or unreliable as all those vintage "U's." When I heard those two high-end mic's - a pair of SDC's & an LDC - after auditioning thousands & owning hundreds of outstanding mic's? THAT WAS THE END OF 'DA SOICH' for me. And it was the absolute APEX & final act of my addiction. I never bought, or even thought of auditioning, trading or buying another mic ever again. In the end, when I analyzed my addiction, I realized that it was the love of pure acoustic tone, my curiosity, & the incredible fun of meeting all the very cool & knowledgable people I 'did' mic deals with, all over the world, that was the source of it all. I won some. I lost some. But I found a way of building resources & other mic's up, without hardly any money after awhile, all just to play at home through some of the best classic mic's ever made - mostly by trading with VERY cool people. I mean COOL. I met Ben Harper in the process, another total mic addict with great musical knowledge & real talent. We would talk & laugh & later play on Skype 'Mic's" for hours over quite a long period of years. Many Cool People, George! Those were very fun years in my life, but no more. At 76, I can no longer play, sing or record. "But I had my fun!" (Chambers Brothers-'69) That's me story & I'm stickin' to it, George! The ride was worth the fare! A Hui Hou! alohachris Last edited by alohachris; 03-01-2021 at 07:28 PM. |