Originally Posted by meathman
I forgot who, but someone was telling me that fasal, potter, nokes, and a handful of other reputable recordists swear by the 191 and it's a staple to all their rigs.
funny thing - this post was quoted on eBay by a seller of a 191. so i came here to check it out!
indeed, i've used the 190 and 191 a whole lot. but i agree with charles in some ways - i've used the Schoeps more often. in general, they have a sweeter and more detailed top end, and a satisfying low, low end. the detail from a Schoeps is often what makes the effects cut through a busy music mix, or any droney background situation.
that said, the 190/191 is a clear choice for it's bump in the lower mids (or even 'upper lows'. i love it for recording a hefty sounding vehicle, or even adding weight to a vehicle that isn't that impressive in the first place. it's also a good choice for aircraft fly-overs.
it's not a quiet mic, though in terms of self-noise. not the best for ambiences, unless it's industrial. Neumann and Schoeps can be a grreat combo, though. i do that a lot.
i also use the high voltage DPA's 4003 especially for amazing ambience and spaced-omni stuff. i haev an orchestral-style set-up that i'll use for film sound ambiences, etc.
agree with charles also about the Sanken stereo - a very useful, affordable stereo mic.