Need help with mic upgrade decision

[CGBrian.M]

Originally Posted by Audiop

Or maybe, just maybe, the acoustics, mic placement and performance which obviously weren't identical in the two recordings could have something to do with it.. :-)


/Peter

I know what your saying Peter, but keep in mind the second part of my post in which I compared the two different cables myself. I literally sat down here in my apartment and played by just swapping the cables out. All was exactly the same except my performances.
I could post some clips, although I would be very embarrassed by playing since I don't practice anymore.

Brian

[CGBrian.M]

Originally Posted by Piedpiper

I'm very into good cables and Monster is famous among industry insiders for being mostly marketing hype. They are the Bose of cables.

I don't know what their top-of-the-line Studio 1000 cables are like, although I do know some recording labels such as Telarc have used them in the past. All I can say is their middle tier and lower seem to suck...and cost a lot.

Brian

[Teddy Ray]

the TLM50 is nice, for sure. I could learn to love them. thumbsup


man, hard to believe that was so long ago..those recordings..

[Piedpiper]

Originally Posted by CGBrian.M

I don't know what their top-of-the-line Studio 1000 cables are like, although I do know some recording labels such as Telarc have used them in the past. All I can say is their middle tier and lower seem to suck...and cost a lot.

Brian

I haven't tried their top o the line but I'd be surprised if they were barking up the right tree. I'm surprised about Telarc.

[CGBrian.M]

Originally Posted by Piedpiper

I haven't tried their top o the line but I'd be surprised if they were barking up the right tree. I'm surprised about Telarc.

The great thing about Telarc and Delos, and a (very) few other labels, is that they list all the equipment used to make the recording in the liner notes. Telarc is especially detailed.

Brian

[CGBrian.M]

Originally Posted by Teddy Ray

the TLM50 is nice, for sure. I could learn to love them. thumbsup


man, hard to believe that was so long ago..those recordings..

Teddy,

I've listened to your recordings about 3 times now over the years since you posted them. Like most others, I also liked the TLM50 the best, and was surprised by how well the AT4050 stood up to the other powerhouses.
Maybe someday I'll think about getting a pair of the AT4050's, but like I said before, it really is a mostly lateral move for me from the ADK TL's.

Brian

[Teddy Ray]

Originally Posted by CGBrian.M

Teddy,

I've listened to your recordings about 3 times now over the years since you posted them. Like most others, I also liked the TLM50 the best, and was surprised by how well the AT4050 stood up to the other powerhouses.
Maybe someday I'll think about getting a pair of the AT4050's, but like I said before, it really is a mostly lateral move for me from the ADK TL's.

Brian

wasnt posting them as a commercial for the 4050s...just posting in case you hadn't heard it.

[Nobilmente]

Originally Posted by richgilb

I have been going through the same issues as you, looking for the holy grail of smoothness and clarity and low hiss for classical recording and have been through a few pairs in the last couple of months....and so far my conclusion is:

Hebden HS3010 for the omnis
Lauten Torches for the cardioids

I have tried and been disappointed with Rode NT5s, Peluso CEMC6s, Lauten Torch omnis (the cardioids are amazing) and ironically, the Hebden cardioids are also apparently poor. I will hopefully be trying some Blue Bottle Rocket stage 1 with B4 capsules soon and I hope they will be better than the Hebdens. The Blue mics are not a matched pair though. Fingers crossed.

You'll probably need $1200 plus the cash from selling your old ones though!

Hi Rich

Have you used all of those microphones that you say are poor? I'm not trying to pick you up here, I just wondered if you had.

I use the older Calrec C1050's and don't really have any gripe with them, in fact I like them and use them in some role or other on many recordings. I've not used or heard the later version yet.

For me, the older C1050's work well on percussion as they are not hyper-bright but more natural sounding. Too bright as spot mikes in classical recording can be the kiss of death. They capture the body of sound on percussion and the tizz does not predominate. A nice balance.

I've used them too on piano, to me they are not unlike the M160 ribbon microphone but with more room, and are sometimes appropriate where that would be. They are spacious sounding microphones.

I have used them on occasion in preference to Schoeps cardiods as a crossed pair.