Best tube mic under 800.00?

[slaphappy]

Originally Posted by smoovemode

Thanks Chris,

What reply was very helpful. I may change the tube in the mic, just because it seems like there's an obvious improvement. But, other than that, you're so right on about "stopping the train" and for a minute, I was gonna fall into that.

The big question is will you change the tube before you even get the microphone?

It is highly recommended.

[smoovemode]

Originally Posted by slaphappy

The big question is will you change the tube before you even get the microphone?

It is highly recommended.

I just ordered the Amperex. I may even email sebatron and see if they have an after market tube that may work better or more importantly work better for my application. That's if opening the box doesn't void the warranty.

[mikeyman]

Originally Posted by smoovemode

Unless someone has any objections, I'm leaning toward the CM-6. If I do get a CM-6 (or any tube mic) would it be safe to assume that I will no longer need a tube preamp?

thats up to you .Its nice to have 2 preamps to choose from.One can be a tube preamp..

[mikeyman]

Originally Posted by smoovemode

I just ordered the Amperex. I may even email sebatron and see if they have an after market tube that may work better or more importantly work better for my application. That's if opening the box doesn't void the warranty.

You should be good w/Amperex.You will notice a n improvement with better tubes

[smoovemode]

Hi Mikey,

Thanks for your input. After I play around with the sebatron for a while, I'll see if I need to get another preamp to go with it. One quality I did like about the Sebatron is they said it's very versatile and sounds a lot less "tube like" than other tube preamps. Now I'm debating whether to keep or sell my Shure KSM44, since I'm going to be using the CM-6. My goal is to get as many different sounds as I can from a few components as possible to keep my budget intact. Does that make sense?

[Screws]

In 1970-72 I was recording at the Hit Factory in NYC with my band. We were being produced and managed by the chief engineer who worked there and he would book us studio time after hours and when the studio wasn't otherwise occupied. I learned so much during that 2 year period from him, and one day he told me something I never forgot. He said, "The biggest changes to the sound of the signal chain are at the beginning and the end. Everything in the middle only changes things a little."

In other words, choice of mics and speakers can often make a huge difference in what you hear and record, compared to choice of preamps, compressors or type of eq you use.

Based on his sage advice, I have more than a dozen mics. The first place I try to change the sound of what I'm recording is by mic choice and placement. It's the biggest "tone-changer" I own.

In my opinion, I'd keep the KSM, or trade it for 2 or 3 less expensive but more varied tone-changers. When I sold my Soundelux U99 and Blue Blueberry, it financed the purchase of a Stellar CM5 and CM6 which are very different sounding.

It's like a painter, you need as many colors as possible.

[smoovemode]

Originally Posted by Screws

In 1970-72 I was recording at the Hit Factory in NYC with my band. We were being produced and managed by the chief engineer who worked there and he would book us studio time after hours and when the studio wasn't otherwise occupied. I learned so much during that 2 year period from him, and one day he told me something I never forgot. He said, "The biggest changes to the sound of the signal chain are at the beginning and the end. Everything in the middle only changes things a little."

In other words, choice of mics and speakers can often make a huge difference in what you hear and record, compared to choice of preamps, compressors or type of eq you use.

Based on his sage advice, I have more than a dozen mics. The first place I try to change the sound of what I'm recording is by mic choice and placement. It's the biggest "tone-changer" I own.

In my opinion, I'd keep the KSM, or trade it for 2 or 3 less expensive but more varied tone-changers. When I sold my Soundelux U99 and Blue Blueberry, it financed the purchase of a Stellar CM5 and CM6 which are very different sounding.

It's like a painter, you need as many colors as possible.

I was thinking that too. I do have an AKG Perception 200 but I'm not sure if that's good enough. Someone has shown interest in my KSM44, but now I'm having second thoughts! If I did sell the KSM44 would you think the CM-5 would be a suitable replacement or is the KSM44?

[rnaple]

Originally Posted by kidvybes

..

...do yourself a favor and search the "Stellar CM-6" here on GS, as there's plenty of info and owner feedback...also checkout this shootout:
Stellar CM4 CM6 Review | recording hacks

May I ask of you people who own the CM-6 and the Neumann. In this shootout. Did I not notice the Neumann having fuller pickup of detail? Specifically...the plucking of the guitar. I thought I could hear more of the actual plucking of the guitar. More realistic. I am guessing that the Neumann is getting a little short changed? It is hard to tell differences. Wish I had a better format to listen to both.
I'm not arguing that the CM-6 compares. Or that it appears to be a great deal for the money.
I truly do wish, at this level of audio, that I had a better format to listen to this stuff.

[66d35]

It is not under $800, but about $50 over... and you can normally get a free loan to try one out. SE Electronics SE Z5600 Mk II.

Excellent mic. Excellent warranty:

Impressed by a 10 Year Mic Warranty? sE Mics have a 20 Year Warranty

None of this "no returns" rubbish.

Just a thought.