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Beyerdynamic mics, anyone use them?
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#31
7th May 2008
Old 7th May 2008
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I believe all that's different between the M88 and the M88TG is the sturdier grill and casing on the TG. I've never used the nonTG version although others have said that the more substantial grill on the TG does affect the sound a little. I'd expect that to be more noticeable if you were using the mic for vocals as opposed to kick. The reissue series is nice - I have an M500 reissue - but I don't know that it would be worth paying a premium for one if you were press it into service on a regular basis. The reissue was a limited edition (500 pieces) in a presentation box, so it may have some collectability if it remained in mint shape. I use my M88s more for vocals than instruments.

The M201 is kind of what the SM57 wishes it could be. It is a more articulate mic. I use mine mostly on cabs. Many people use it on snare.

The M69 is also good on vocals. Not as much proximity effect as the M88. I'm told it's good on horns, but I've never used it for that.

Of the ribbons, the M160 and M500 are my favorites. The M160 is an all around great ribbon mic for instruments and overheads. Works well as a second mic on a cab (with an M201). The M500 can be a really great vocal mic on the right voice. It has a bit of a presence peak so it is a bit brighter than the garden variety ribbon. It was apparently originally developed as a performing vocal mic. It's useful on instruments as well. The M130 is a figure 8 double ribbon mic. You can do M+S recording with an M130 and an M160. The M260 is a single ribbon mic that is kind of an all purpose mic. Of the two I have, I prefer the older model with the straight barrel, although I'd probably try one of the other ribbons first. The current model M260 was originally the M260.80 with built in roll off (non switchable) which you may or may not want. Personally, I'd buy an older M260 rather than the current model.

The M380 and M380TG are figure 8 dynamic mics (not ribbons). Good for kick and bass cabs. There is a thread here where Steve Albini says that he uses one somewhere on all his projects. Of course the price of the mic shot up after that comment. I think they are good, but they aren't the second coming or anything like that. Another more traditional sound to contrast with other more modern kick mics like the Audix D6 and the AT ATM25.

The M420, 422 and 424 are all drums mics. The M422 is good for snare and hat. The M424 is good on snare. The M420 is good on toms.

The MC834 is a LD condenser and is the cardioid only version of the MC740. Has multiple roll off and pad settings. It is very flat and I find it more truthful than flattering. Good vocal mic if the source is up to it. Good for overheads and acoustic guitar. I'm told it's good on piano, but I've never used it there. They sometimes go cheap on e-bay. I think I paid less than $350 each for mine used. I'd like to get a MC740 if I could snag one at a decent price.

The MC734 is a vocal condenser that came in both performance and studio versions. The performance version has a black leather wrap around the barrel to cut handling noise. Again, a relatively flat mic. Pretty rare in the states - I've only seen them once on e-bay in the last 3-4 years when 4 came up at once and I bought one. A nice change from the Audix VX-10 that I usually use as a performing condenser.

The MC801 and MC710 are very nice SD condensers with switchable capsules. Good in the usual SD applications and made to compete with AKG C451 etc.

The MCE93 is a SD cardioid condenser, but without switchable capsules. The MCE94 is similar but will run on a battery. Nice usable decent quality SD mic. I use them more for live applications as I bought two pairs of them really cheap (like $150 a pair for mics that listed for $400 each). Not quite as good as the MC710 or MC801, but better, IMHO, than the ubiquitous Chinese SDs that have flooded the market. These come up on e-bay from time to time and usually still go pretty cheap. Actually, if I was looking for a matched pair of SD mics right now (and wasn't in the running for a pair of Schoeps), I'd strongly consider the MC930 (and I have AT-4051s, AT-4053s and C42s).

The Beyer Soundstar I was made to compete with the Sennheiser MD421. Personally, I like the MD421 better. Looks way cool though. Makes a stunning talk back mic.

The Soundstar II on the other hand is a really underrated vocal mic. Similar in sound to an SM7, it's great for screamers. Often a real bargain on e-bay.

The M101 is a nice dynamic omni mic. It's nice in that it is not as sensitive as a condenser which helps if you don't have a great room. I think it sounds better than the EV 635.
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#32
7th May 2008
Old 7th May 2008
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i love them...i use the m160s on drums all the time...
#33
7th May 2008
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The M88 is my go-to live mic for oud... perhaps the best dynamic mic for male vocals, too. I have the silver reissue (not the TG version) - I don't know if the TG has the same sound or not.

The M500 is excellent as a female vocal mic, as well as for acoustic stringed instruments.

I use these 2 mics very frequently.
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#34
7th May 2008
Old 7th May 2008
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Thanks Pohaku for that stellar review! I am surprised to read many are using their ribbons for OH's. The last time that I posted using my royer 121 for an OH, many ppl scoffed!

Pohau, as oudplayer mentioned, is the silver reissue m88 the same as the mid 80's m88 or the current m88? Need I worry?
#35
7th May 2008
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I think that the only real difference between the current TG version and the 80s version is the stronger basket and case. In any event, I expect that the reissue should sound the closest if not exactly like the older M88. My M500 reissue sounds just like my older M500s. Looks better though. If you have a good deal on one, I'd snag it.
#36
13th May 2008
Old 13th May 2008
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I just wanted to throw in that Beyerdynamic have so far repaired all the mics I sent in, including discontinued M500s (about 100$ for re-ribboning). One time a 380 died on me (didn't mistreat the poor thing!) and I threw in a jecklin-headphone capsule because it was the same size... now everything sounds like a kickdrum through this...even hihat, well, nearly ;-)

Do yourself a favour and try the M201 where you had a SM57.
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#37
13th May 2008
Old 13th May 2008
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Made where?

Anyone know where Beyerdynamic mics are manufactured?

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#38
13th May 2008
Old 13th May 2008
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#39
15th May 2008
Old 15th May 2008
  #39
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I'm growing addicted to Beyers. For the price they are really nice mics.
I have:

Beyer M300 (2) - good vocal stage mic
Beyer M55 (2) - harmonica, snare bottom for crack but lot of spill, and guitar amps though coupled with something bassier. Omni.
Beyer M600 - excellent vocal / spoken mic I've seen it compared to a SM7. used it for voice overs and live on voice.
Beyer M61 - little mic that I use as talkback.
Beyer M69 - I love this. Great on snare / brass / distorted guitar amps
Beyer M700 - bought this one recently and haven't used it but seems similar to the M300. (does anyone have a spec sheet or any info on this one?)
Beyer M80 (2) - works on hi toms. fat sound. really cheap on ebay.
Beyer M81 - I believe it has the same capsule as the M80 and it's almost identical. both are lower range mics with attached cord but they sound really nice. I have no specs but know they're cardioids.
Beyer Soundstar X1 - a sort of 421 (as somenone already mentioned) On floor tom it's excellent and not bad on bass cab. Much cheaper on ebay than a 421.
Revox 3500 (x2) stereo pair from a reel to reel and identical to beyer m201 - I think the diference is these don't have lo-cut. No brainer on snare. I don't think I've used it for anything else than that but should sound good on amps.
I also have a Revox 3400 that was most probably made by beyer. It has the exact same case as other beyers. not bad on vocals. a cheap plastic mic with a nice capsule inside.

Hope you don't mind hijacking the thread but a couple of weeks ago I bought a ribbon and can't figure out the model. It's different from the M130, 160 or 260 that I've seen. Can anyone help?
Thanks.



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#40
15th May 2008
Old 15th May 2008
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Looks like it could be an older M260. The earlier ones had a straight grey barrel as opposed to the tapered black barrel of the later mics.
#41
16th May 2008
Old 16th May 2008
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it's not a 130 for definite the insides look like an old 160 I had that went to the big mic locker in the sky
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#42
16th May 2008
Old 16th May 2008
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The inside looks definately as the old M260.
#43
6th December 2008
Old 6th December 2008
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Hey guys,

i've been reading this thread with much interest. I've started using beyer's quite abit lately, and am a big fan of the M201 on snare ( especially when used on top, and combined with a beta 57 on the bottom), and the M69 both on guitar and bass cabs( great for picking up that string sound from an ampeg fridge!)

I have come across an M81 , which i have have not seen in use. I have read that they are good on hi toms. Can someone let me know if they have found them useful on any other instruments and whether they've found them more suitable to live or studio?

cheers
#44
6th December 2008
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I love the M88, it's really great on kick drum, on guitar cabs it's smooth but not dull. I love 201's also but the M88 is wonderful
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#45
6th December 2008
Old 6th December 2008
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i just got an M 160. i love it! It sounds great on guitar cabs. really mellow and smooth, at least for my applications.... I have used it mixed with some condensers on acoustic guitars, tried it on vocals, and also mic'ed this strange organ that i found on the street a few years back. It has a speaker built into it, and has old school drum patterns, and bass lines and stuff.It doesnt get much volume, but i was able to mic the speaker that is in it and get some really cool Bass/organ sounds. they sound awsome while listening back on monitors! I also like it on snare a whole lot, but have not had a chance to use it on that application much yet.

Im Still getting used to it and what to use it on, but i think it is a great mic. With the right application, i find that tracks seeem to sit very nicely in the mixes with little effort. It definitly added some more depth to my mixes. also, its my first ribon mic, so keep that in mind. I am sure that all the mics you where asking about are great in their own way.... Just giving you my input....
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#46
6th December 2008
Old 6th December 2008
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I'm a big fan of Beyer mics. At the monet I have

M88 (x2) Magic on kick drum, bass cabs and clean guitars.

M201 (x2) THE snare mic in my opinion, I rarly use anything else.

M160 I haven't had it long but I am loving it on guitars. I tried it as a mono overhead and it sounded great, I will be getting another to try a stereo pair on overheads.

I also plan to get a couple of Beyer MC930 and maybe a M130 for trying out MS.
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#47
6th December 2008
Old 6th December 2008
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I love beyer!

* I have a rare sixties ribbon mic m320. Sounds fantastic on guitar cabs, acoustic guitars, (backing) vox, percussion, violin etc. I actually preferred it over a rented RCA 44 ribbon (in good shape) on some sources. Because there's not much info on the web about the m320 I emailed a few questions to Beyer. I got a very nice reply (info about the production dates, PDF of the manual) from beyers tech support in Germany. thumbsup

* Besides the praised, well known beyer ribbons, like the m160, the company has very interesting dynamics. (check ebay for odd looking old stuff) Sometimes I even use their reporter mic M58 (n) that has very pokey mids, on an experimental guitar part, or even vocals. Leave the sm57 in your locker and try something beyerish

* Their SDC mc930 is brilliant too. Amazing mic, regardless of the (stupid low) price.
#48
6th December 2008
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3 x M201. Snare, hat, some times on percussion and acoustic guitar with nylon strings.
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#49
6th December 2008
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Quote:
Originally Posted by Blatboy View Post
I've been considering getting a pair of m160s to use with my upright piano (a really nice Yamaha, if it matters) I've been wanting to see what a pair of ribbons would sound like with that thing... and the m160 seems like a good all round situation...

Opinions?
yes get the m160 they where also made by Strässer with model number M900N or something like that, great mic for piano. I always use one as a center mic in combination with two Coles/STC 4038's...

Summa
#50
6th December 2008
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I have several M88, Soundstar II, M201, M160, M130, M260, Opus88, MCE86 in frequent use and like each of them. A few days ago I had the chance to check their new vocal SDC Mike TG-X930: wow, that´s great tennis. Highly recommended!
#51
10th December 2008
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i have an m380 also... pretty nice on kick...
#52
10th December 2008
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I'm a big fan of the M160s for OHs and guitar cabinets and I also use the M201 a lot, snare and especially acoustic guitar.

I had a new M88 TG and didn't really get excited over it. It's interesting to know that a lot of folks prefer the non-TG version and I'm definitely am on the lookout for an older M88.
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#53
10th December 2008
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Quote:
Originally Posted by Pohaku View Post
The Soundstar II on the other hand is a really underrated vocal mic. Similar in sound to an SM7, it's great for screamers. Often a real bargain on e-bay.
I have a Soundstar MK II that I got off e-bay for a resonable price a few years ago. To me, it sounds NOTHING like a SM7. Not even close and it's now doing duty as a talkback mic (great as it has a on/off switch).

Were there different versions of the Soundstar II?
#54
10th December 2008
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Quote:
Originally Posted by doorknocker View Post
I have a Soundstar MK II that I got off e-bay for a resonable price a few years ago. To me, it sounds NOTHING like a SM7. Not even close and it's now doing duty as a talkback mic (great as it has a on/off switch).

Were there different versions of the Soundstar II?
Mine is a non-switched version, not that just having a switch should make a difference in sound. I believe the Soundstar II was also sold as the M400. I don't know whether there were any differences other than labeling between mics marked as Soundstar II and those marked as M400.
#55
11th December 2008
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I just got a pair of M160s and have been putting them through the paces. I really like them on overheads. A very nice change from my other overhead option (KM184s). I also thought that they were surprisingly good on vocals. For guit amps where do you guys find the best placement to be?
#56
11th December 2008
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I still have my pair of Beyer M67N microphones that I bought new in the 1970's - my first good mics.
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#57
11th December 2008
Old 11th December 2008
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M160

Quote:
Originally Posted by BradD View Post
For guit amps where do you guys find the best placement to be?
Just the same as with every other mic, put it where it sounds best. Since it's a ribbon mic you might not want to put it right on the grille @ Motörhead SPL but I prefer a bit of distance to the speakers anyway. Having said that, the M160s can take a lot of volume. I use my pair of M160s pretty much on every session so I know that at some point in the hopefully very distant future I will have to replace the ribbons - it's a tool and like any tool it will wear out after a lot of use.
#58
11th December 2008
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Quote:
Originally Posted by BradD View Post
I just got a pair of M160s and have been putting them through the paces. I really like them on overheads. I very nice change from my other overhead option (KM184s). I also thought that they were surprisingly good on vocals. For guit amps where do you guys find the best placement to be?

I haven't had my M160 that long but I've found it needs a little space to breathe. Depending on style 6"-18" but most of the time around about 9"-12" is where I have liked it so far.

Last edited by TornadoTed; 12th December 2008 at 09:51 AM.. Reason: Changed from feet to inches!
#59
11th December 2008
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Wow!

18 feet is a LOT of breathing room!

#60
11th December 2008
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Whoops meant inches of course

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