Anyone disappointed with a Peluso 22-47 ?

[gearaddict]

Originally Posted by Kiwiburger

Nobody can be trusted. We are lied to all the time. The music industry is probably far more reputable than the 'food' or 'health' industry.

Seems to me that Peluso never lied (German means German), and probably Soundpure opened one up and saw a Telefunken and assumed they were all Telefunkens.

Does it really matter? Did the mic sound good or not? The tube is a replaceable item. Would you get your knickers in a knot if you bought a Fender guitar and it didn't have genuine Fender strings?

SOO.you would not care if you ordered a mic that said "GERMAN FET INSIDE)..you paid a grand for it..you get it..open it up..and it's guts are BEHRINGER...well..Its german right!!!..Get over it!!

[Kronos147]

Originally Posted by Chance

I am only curious. What make are those American vehicles?

I drive a Ford Taurus (or Boor-us). I have to admit, that was one BAD purchase. I also have a '67 Mustang that has been sitting with no motor for about 3 years now.

I drove the Mustang almost exclusively for about 10 years, but thought I should get something with a warranty until I get a new motor for the Mustang.

The other one is a Dodge pickup.

[ddp]

Originally Posted by Kronos147

I drive a Ford Taurus (or Boor-us). I have to admit, that was one BAD purchase. I also have a '67 Mustang that has been sitting with no motor for about 3 years now.

I drove the Mustang almost exclusively for about 10 years, but thought I should get something with a warranty until I get a new motor for the Mustang.

The other one is a Dodge pickup.

Can we talk about mics instead of cars?

[Al Rogers]

For about the same price as a Peluso 22 47SE you can get a Brauner Phantom Classic.

[illacov]

You can sell that to some unwitting soul and buy a Peluso.

Maybe for other genres the Brauner is a good mic. But man for modern aggressive vox, its kind of shall we very dead?

There's a rapper on here called Somobe, that used to have the Brauner and while it did something for him, the 2247 was a HUGE step in the right direction. Of course diff voices need diff mics, but I'm pretty sure, you can be Barry White or Flava Flav and your voice is going to fit the 2247.
Yes chain chain chain.

Record it with a 1073 or similar clone or a Class A pre and choose your compressor later.

Good mic, if I got 1200 I'm calling John up, if John ain't got it, I'm calling Pearlman or looking for a used one. IF he ain't got it, then I'm building it or having it built.
Peace
Illumination

Originally Posted by Al Rogers

For about the same price as a Peluso 22 47SE you can get a Brauner Phantom Classic.

[jefflaur1]

I have owned three VINTAGE U47's with the VF14's and I can tell you that each one sounded different. Every individual mic has a character that is IT'S OWN. The VF14 search got absurd with used tubes going for over 1200 dollars. We opened up a second voiceover studio near Atlanta in 2004, and needed to outfit both studios with similar mic chains. We went through AKG's, TLM49's, MKH416's, ADKS, and several others including Brauner VMX, and Phantoms (and the VMX was realy nice, but too pricey for us to have two of them) ..even the AK47.and a couple of Geffells. For me..myself...I found the "sound" of the Peluso 2247LE with the German steeltube to be a great compliment to the capsule of the mic, and using our treasured Avedis MA5 preamps..I can not ask for much more as far as a superb quality AND replicatable sound in both studio locations.

I spoke with Ben from BeesNeez without knowing the backround between he and John Peluso. I found him to be a very nice guy who seems to know his gear. As far as I know he IS making mics, and had an actual website up and running with the ".au" extension..To date we haven't been in contact lately.

But I have done business with John Peluso directly, and find him to be straightforward, and delivers what he says he will deliver. Chinese metalwork is everywhere in mics, and computers, and car parts..no getting away from the fact that it costs less to get metal casts done in Asia. Makes me wonder where much of the metal work for the Sony C800G (6500USD) is cast. Is it Japan? Time was when many poo-poo'd the Japanese made product. Is that thing really worth SIX Thousand bucks? That said..many East German mics..although made "in Germany" were actually poor copies of the West German bretheren, and not all that great. So "Asian" made doesn't absolutely mean poorly made..as "European" made doesn't absolutely translate into "better".

As for the 2247LE. We are most happy with them, and have received many compliments from some VERY picky national clients who will INSIST on a certain mic chain..after hearing our produced work..ask for our "secret" Gotta love that!

[henryrobinett]

[ddp]

I've had my 2447SE for a few months now and I have been loving it.

[keano]

Is the SM7B a poor mans 47? I record big rock vocals and have similar voice to Chris Cornell. Looking a mic though that replicates somewhat upfront/fat tone. also like Richard Ashcroft solo stuff. Would the 2247 be good for this or just go way of SM7 and in mix no one would notice type of thing?

[Chris Lago]

Originally Posted by keano

Is the SM7B a poor mans 47? I record big rock vocals and have similar voice to Chris Cornell. Looking a mic though that replicates somewhat upfront/fat tone. also like Richard Ashcroft solo stuff. Would the 2247 be good for this or just go way of SM7 and in mix no one would notice type of thing?

Chris Cornell uses the sm7b, that should answer your question.

[TonyBelmont]

The Peluso 47 LE is a wonderful microphone.

... and for clarification the LE and SE sound slightly different.

[threshhold]

Personally I have been using my 2247 LE as my go to vocal duty mic for the last 3 months and I think it sounds phenomenal for the price. I've been using it through a GR-MP2NV > 1176LN > Rossetta 800 and to me it just sounds like a "record".

2 cents.


Good luck with your search.

[monkeyxx]

I had kind of a noteworthy experience today

I was a little on the fence about my 2247 SE on my voice, calling it a bit "flat" or "thin" sounding sort of scooped or bright or something, you know

well anyway I played around with preamps and found that, with slightly different tweaks on the N72 vs the VP312 I got two very nice vocal sounds using the URS FullTec EQ plugin.

I cut about 3 dB at 12 kHz, cut about 2 dB at 60 Hz, and cut about 3-5 at 200 Hz with a narrower Q. this instantly darkened up the mic, cleaned up the bottom end, and let the breath frequencies breathe easier. the resulting sound is very clear and present sounding, and flattering to my voice. the N72 could stand a bit (3-5dB) of 16kHz boost, where the VP312 was already very articulate sounding off the bat. the N72 had the advantage in low end "warmth"

I hate the idea of having to use an EQ every time I sing into this mic, but, if it works, well, I guess I can deal with it until I find that mic that's perfect for my voice with no EQ.

on drums on the other hand I didn't need any EQ with the 2247 SE.

I guess I am reluctantly accepting the fact that EQ is often a necessary evil, and maybe that there really aren't too many picture perfect all at once vocal microphones in existence. anyway try this if you think the Peluso is too thin sounding before you get back on that sometimes trying quest for the perfect microphone.

[monkeyxx]

I was playing around again and the decided the bass cuts took too much of that "voice of god" thing away from the mic for most uses, so I ended up just leaving about a 3db cut at 12 kHz and the tone was perfect!

funny enough I was reading Henry Robinett's Tape Op magazine review of the 2247 LE, in which he cites it as his favorite microphone for male and female vocals, tenor sax, and guitar, (also praises the "great, great body") he said, "There is an ever-so-slight high-end bite. It's welcome in comparison to the glass-tubed, short-body Peluso 22 47 (Tape Op #48), but some might say it's a tad abrasive. This, of course, completely depends on your uses and your ear. On a rare occasion, I've found the need to bring down a little 12 kHz. I think the mic is fantastically well-rounded tonally. I have yet to feel the need to EQ a vocal much, if at all."

tape op gear reviews are now archived on their updated and improved website, by the way. I'm having a lot of fun going through all those right now, always appreciated the Tape Op review style

I'm also running the 2247 SE into my N72 cranked enough to get some dirt and squeeze on it, and then running through the EQ for some darkening, then into the softube FET compressor VST, and I'm really pleased with the old school color I'm getting, even for using a DAW and all that. pretty happy with my gear, right now, not going to be selling any of this stuff any time soon.

I know this is an old thread I just don't think I'd shared my thoughts on the 2247 SE yet, I'm really happy with it, now that I've had it a while. it's a good drum mic too, overhead or in front of the center of the kit.

[TLH]

Thought I would weigh in on the thread since I own the Peluso mic with the metal tele tube. I have to say that the Peluso is not my go to mic for vox. That said, it seems a little thin to me in my vox tracking chain which is a Neve 1073 through a Urei 1176. The go to mic for me is my AKG modified (the tube) vintage mic from 1985. The AKG in stock form left little to be desired. That said, a capsule replacement with an original c12 capsule, capacitor changes and recalibrated to a GE 5 star make this mic a stand out contender. So the Peluso is up against some tough competition. Not bad by any stretch, but not the go to in my cab. tlh

[TLH]

Originally Posted by monkeyxx

I was playing around again and the decided the bass cuts took too much of that "voice of god" thing away from the mic for most uses, so I ended up just leaving about a 3db cut at 12 kHz and the tone was perfect!

funny enough I was reading Henry Robinett's Tape Op magazine review of the 2247 LE, in which he cites it as his favorite microphone for male and female vocals, tenor sax, and guitar, (also praises the "great, great body") he said, "There is an ever-so-slight high-end bite. It's welcome in comparison to the glass-tubed, short-body Peluso 22 47 (Tape Op #48), but some might say it's a tad abrasive. This, of course, completely depends on your uses and your ear. On a rare occasion, I've found the need to bring down a little 12 kHz. I think the mic is fantastically well-rounded tonally. I have yet to feel the need to EQ a vocal much, if at all."

tape op gear reviews are now archived on their updated and improved website, by the way. I'm having a lot of fun going through all those right now, always appreciated the Tape Op review style

I'm also running the 2247 SE into my N72 cranked enough to get some dirt and squeeze on it, and then running through the EQ for some darkening, then into the softube FET compressor VST, and I'm really pleased with the old school color I'm getting, even for using a DAW and all that. pretty happy with my gear, right now, not going to be selling any of this stuff any time soon.

I know this is an old thread I just don't think I'd shared my thoughts on the 2247 SE yet, I'm really happy with it, now that I've had it a while. it's a good drum mic too, overhead or in front of the center of the kit.

By the way, the N72 is one of the best pre amps for the money there is!

[monkeyxx]

Originally Posted by TLH

By the way, the N72 is one of the best pre amps for the money there is!

I was just thinking the same thing. In fact, I hope to, before the year is out, expand my one channel to at least four.

$330 sounds like a lot for a kit...until you realize how good this thing sounds, and then, compare it to any comparable Neve clone on the market starting at $775 and up per channel. Unless you count the multichannel stuff like the Phoneix DRS 8 channel thing which I could never afford flat out. $300 chunks is much more feasible for me.