LDC for vocals: 2x2k or 1x4k?

[stevens119]

A Wunder CM7-GT would be nice on most any voice I'm sure.

I usually record all voices on a U67. It's a great mic, it sounds great, and I have yet to run into a situation where somebody sounded better on another mic. So I gave up trying.

[legato]

this week i have here to test: AR-51, Mahalia, Arabella, UM-17, UM-25
(thanks to digital audio service, hamburg, germany)

Do keep us posted and if in any way possible, post samples, please.



Henk

[r.staettler]

did anyone here ever directly compare a beesneez arabella with a FLEA mic?

[Ciozzi]

Originally Posted by r.staettler

i want to upgrade my LDC (mainly for female vocals)

now my question to those with a lot of experience: would you prefer ONE mic for about 4k to TWO for about 2k?

somehow it seems that above 2k the mics only get more character, not be generally better, so maybe a warm/thick one and a clear/airy one would be a better choice?

what makes you think that a 4k mic would be any better than a 2k mic ?

[r.staettler]

Originally Posted by Ciozzi

what makes you think that a 4k mic would be any better than a 2k mic ?

the answer for those believing in working markets: "errrrrr... the price???"

but for those who know marketing and psychology a bit... its not so simple, you are right... which leads me even more into the 2x2k area...

[legato]

By that logic, you could also get four 1K mics. Or eight .5K mics.
Not saying you shouldn't go 2x2K, mind.
But where's the line to draw?
And who decides what's the turnover point?
Well, in the end, it'll be you, of course.



Henk

[r.staettler]

that "logic" would only apply if those two relations were LINEAR:
number-of-mics/useful-variety-of-sound and price/quality

even if the first was true, available time at a real world production would not allow to test dozens of mics...

back to real life, as a composer/producer (not full time engineer) i do not want to handle with lots of mics (and as an independent artist, i dont "want" to pay for them )

the 2k price point (i mean 1.5k - 2.5k$ / 1.2k-2.2k€ by that) is definitly including a LOT of favourite mics from GS threads, so to my mind its makes sense..

[Ciozzi]

Originally Posted by r.staettler

the answer for those believing in working markets: "errrrrr... the price???"

but for those who know marketing and psychology a bit... its not so simple, you are right... which leads me even more into the 2x2k area...

There are many examples of big artists/producers using inexpensive gear, like for example Bono Vox having used sm58's for the majority of his vocal tracks, and it's not that these guys have a lack of budget. When it comes to mics all you should do is rent a bunch of them, record lots of samples and then listen back to them without even knowing what you're listening to. Doing this has saved me lots of money in the past, maybe you should try it too.

[r.staettler]

i would love to do so (and do so with a lot of other gear) BUT
i cant sing.

which means i always have to book a singer (or ask a singing friend for a favour)
i will do so maybe three times, but thats it... so considering there are hundreds of mics out there reading and writing here is a good starting point to condense the possilities

[mcgruff]

Originally Posted by Ciozzi

what makes you think that a 4k mic would be any better than a 2k mic ?

+1 An AEA R84 would barely make 1k. That could be another one to consider if you're planning on covering a range of sounds.

[r.staettler]

ok, comparing mics is not easy... each mics advantage has its disadvantage...

you want crisp highs - might get hard sssssses
you want full vintage sound - might be to dark

The fight of the day was AR-51 against UM-25:

UM-25
(the new UM-25s are silver btw...)
Very balanced. I think its the most balanced mic of them all... but its very sensitive concerning wind/breath/blows/plosives...

AR-51
When switching from other mics´ recordings it seems thin... but i think it has the most high end information of all mics i tested. For every rather dense song the perfect Highs to my mind.

(to be continued)

[jmikeperkins]

I would consider a (used) Neumann M149 (mainly for female vocals) and a used original 1970's Neumann U87 (mainly for male vocals). If you could afford both you would have things covered. There are of course a million choices and it's impossible to say what will work best with any given singer, but everyone knows the Neumanns and they take eq really well. You could almost always make those 2 mics work in any situation. Smooth, never harsh and they hold their value.

[Ciozzi]

Originally Posted by r.staettler

ok, comparing mics is not easy... each mics advantage has its disadvantage...

you want crisp highs - might get hard sssssses
you want full vintage sound - might be to dark

The fight of the day was AR-51 against UM-25:

UM-25
(the new UM-25s are silver btw...)
Very balanced. I think its the most balanced mic of them all... but its very sensitive concerning wind/breath/blows/plosives...

AR-51
When switching from other mics´ recordings it seems thin... but i think it has the most high end information of all mics i tested. For every rather dense song the perfect Highs to my mind.

(to be continued)

If you don't already have a wide selection I'd buy something more on the netura sidel, that and an eq will get you a long way. Personally I'm a big fan of the M7 capsule, even though its highs roll off a bit early it's got a nice presence peak which seems to complement very well many vocalists and instruments.