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Stellar CM-6 Vs Mojave MA-200 Condenser Microphones
View Poll Results: What Mic Do You Favor?
#1
36 Votes - 36.73%
#2
62 Votes - 63.27%
Voters: 98. You may not vote on this poll

Old 13th September 2011
  #31
Gear Addict
 
always_ending's Avatar
 

Quote:
Originally Posted by drBill View Post
I fail to see what flying saucers or the way the government handled the Gibson situation has to do with this......heh
lol...


but in all seriousness, help me define what you're hearing as "zingyness" with the CM-6.

I hear that the highs are more pronounced than the MA-200, quite easy to pick that out, but I'm not sure where the "zingyness" is coming into play?

Is there one of the clips above where the mic distorts out on reproducing the highs, or are you just thinking the high boost isn't something that you like in a mic?

You'll never find ANY reason for a mic with a brighter high end? If so, what mics do you prefer in those instances, b/c I guess I find myself and my ears more attracted in vocals, acoustics, etc to mics that sound more like the CM-6 vs other mics that are flat and or rolled off.

Now on bright sources like cymbals, electric guitars, horn instruments, etc.... I agree, this is not the mic that I would be reaching for 1st, those areas are where I DO love the rolled off highs of a nice ribbon.

I'm just not hearing any "crap" from this CM-6, no "zingyness", etc and am curious as to what you define as zingy?
Old 13th September 2011
  #32
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kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
I'll keep my eyes open for another shootout with the CM6 involved and give it another chance though.
...you have clearly voiced your dislike for the CM-6 numerous times in various prior threads...but your persistance to continue to voice the same obviously biased criticism in every new thread that pops up borders on obsessiveness...just sayin'...

Quote:
Originally Posted by always_ending View Post
I'm just not hearing any "crap" from this CM-6, no "zingyness", etc
...simply because there is none...trust your ears (and don't waste your time trying to figure out what motivates some people)...
Old 13th September 2011
  #33
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by always_ending View Post
lol...


but in all seriousness, help me define what you're hearing as "zingyness" with the CM-6.

I hear that the highs are more pronounced than the MA-200, quite easy to pick that out, but I'm not sure where the "zingyness" is coming into play?

Is there one of the clips above where the mic distorts out on reproducing the highs, or are you just thinking the high boost isn't something that you like in a mic?

You'll never find ANY reason for a mic with a brighter high end? If so, what mics do you prefer in those instances, b/c I guess I find myself and my ears more attracted in vocals, acoustics, etc to mics that sound more like the CM-6 vs other mics that are flat and or rolled off.

Now on bright sources like cymbals, electric guitars, horn instruments, etc.... I agree, this is not the mic that I would be reaching for 1st, those areas are where I DO love the rolled off highs of a nice ribbon.

I'm just not hearing any "crap" from this CM-6, no "zingyness", etc and am curious as to what you define as zingy?
Man, if you can't hear it, you can't hear it. I'm not dissing the mic. It is obviously loved by many. Who am I to tell them they don't like what they like - but that doesn't mean I have to follow the pied piper and drink his kool-aide.

We don't all hear things the same way, and we are not all looking for the same sound. That should be end of story, but since you asked....

On AKG K240's and my laptop, the 2nd clip for both guitars was un-useable for me. On my studio monitors, it was more balanced, but I often take the indicator of how my computer sounds as a benchline for how people are hearing music these days. More specifically, "zingyness" is how the microphone handles HF transients. At least that's how I define it. It's not just whether it's brighter. Like I said earlier, I'd love to have a pair of C12's......certainly brighter mics.

As for the vocals, I really didn't like either mic. All this I said earlier when I had no idea which mic was which. I'm not sure where the problem arose unless it's buyers justification. If it helps you feel better, I really don't like the Sony C800G either. heh heh
Old 13th September 2011
  #34
Lives for gear
 

Quote:
Originally Posted by drBill View Post
Since you sidetracked first....... heh

4038's are cool. The modded 205's are 1/4 the price, more open up top and bigger sounding overall, but very similar sounding. I choose them over the 4038's often. You can check em out here : https://www.gearslutz.com/board/gear-...mparisons.html Best of all worlds - I'd own both. On a ribbon budget, I'm completely happy with only the 205's. Extra money.....i'd get some 4038's as well.
I'm liking how you describe those modded 205s, by the way.

I consistently find I like my own singing voice through a Coles 4038 + a small top-end air bump. Your description of the modded 205 sounds like my ideal vocal mic.
Old 13th September 2011
  #35
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
Man, if you can't hear it, you can't hear it. I'm not dissing the mic. It is obviously loved by many. Who am I to tell them they don't like what they like - but that doesn't mean I have to follow the pied piper and drink his kool-aide.
...ah!...to the heart of the matter!...thanks for the clarification...

...much like your calling CM-6 owners "sheep" in a previous thread, you imply that none of the GS members that are pleased with the performance of the CM-6 mics they purchased, are capable of judging the mic's virtues on their own...they're all just "drinking the Kool-Aid"?...a bit harsh, don't you think?...
Old 13th September 2011
  #36
Gear Nut
 
ajschuk's Avatar
 

Quote:
Originally Posted by Halloween View Post
Seems like the interest has peaked in this shoot out.

RESULTS:

#1 Mojave MA-200
#2 Stellar CM-6

Thank you for the input the majority of you just saved yourself a ton of money.
So for a true comparision, is there any chance of getting the WAV's for this shootout. To be honest, I was listening through headphones on my work computer. Id like to hear the wavs through my rig at home. I did like #2 better though accross the board and I do own the CM6, so Im pretty stoked that I didnt buy the MA200 when I was shopping!
Old 13th September 2011
  #37
Gear Addict
 
always_ending's Avatar
 

Quote:
Originally Posted by drBill View Post
Man, if you can't hear it, you can't hear it. I'm not dissing the mic. It is obviously loved by many. Who am I to tell them they don't like what they like - but that doesn't mean I have to follow the pied piper and drink his kool-aide.

We don't all hear things the same way, and we are not all looking for the same sound. That should be end of story, but since you asked....

On AKG K240's and my laptop, the 2nd clip for both guitars was un-useable for me. On my studio monitors, it was more balanced, but I often take the indicator of how my computer sounds as a benchline for how people are hearing music these days. More specifically, "zingyness" is how the microphone handles HF transients. At least that's how I define it. It's not just whether it's brighter. Like I said earlier, I'd love to have a pair of C12's......certainly brighter mics.

As for the vocals, I really didn't like either mic. All this I said earlier when I had no idea which mic was which. I'm not sure where the problem arose unless it's buyers justification. If it helps you feel better, I really don't like the Sony C800G either. heh heh


It's not buyers justification, as I stated and need no "support" on this, I am very happy with my purchase

"If I can't hear it, I can't hear it" doesn't exactly explain anything at all (and I guess 75% of people that voted can't hear it either)... I would figure an "industry professional" such as yourself could easily describe exactly what I should be listening for that you can "clearly" hear yourself....

what is the frequency range that you're having "issues" with.... specifically

I'm quite sure you can tell me what freqs you find that are "offending" to your ears right?

perhaps I can't hear it because I'm young and inexperienced, and perhaps I need more "training" to my ears.... which I wouldn't disagree with.

what about the transients that you're hearing on the higher freqs that is an issue with how the mic handles them? seriously, I'm trying to learn here and I'm not sure what you're eluding to here. Does it cut off initial attack of transients that you believe should be there? Round them off and smooth them out? etc?


and please, don't tell me that 75% of the people voted on the CM-6 due to it being slightly louder in RMS values.... that would make NO sense IF the mic has offending, zingy high freqs, as those freqs would be even MORE noticeable to everyone else as well no?
Old 13th September 2011
  #38
Gear Addict
 
always_ending's Avatar
 

Quote:
Originally Posted by ajschuk View Post
So for a true comparision, is there any chance of getting the WAV's for this shootout. To be honest, I was listening through headphones on my work computer. Id like to hear the wavs through my rig at home. I did like #2 better though accross the board and I do own the CM6, so Im pretty stoked that I didnt buy the MA200 when I was shopping!
Sorry my man, but Halloween is a bit of an anal retentive person with his files on his work comp..... lol

and thus, deleted the files immediately after uploading them to GS here
Old 13th September 2011
  #39
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by always_ending View Post
It's not buyers justification, as I stated and need no "support" on this, I am very happy with my purchase

"If I can't hear it, I can't hear it" doesn't exactly explain anything at all (and I guess 75% of people that voted can't hear it either)... I would figure an "industry professional" such as yourself could easily describe exactly what I should be listening for that you can "clearly" hear yourself....

what is the frequency range that you're having "issues" with.... specifically

I'm quite sure you can tell me what freqs you find that are "offending" to your ears right?

perhaps I can't hear it because I'm young and inexperienced, and perhaps I need more "training" to my ears.... which I wouldn't disagree with.

what about the transients that you're hearing on the higher freqs that is an issue with how the mic handles them? seriously, I'm trying to learn here and I'm not sure what you're eluding to here. Does it cut off initial attack of transients that you believe should be there? Round them off and smooth them out? etc?


and please, don't tell me that 75% of the people voted on the CM-6 due to it being slightly louder in RMS values.... that would make NO sense IF the mic has offending, zingy high freqs, as those freqs would be even MORE noticeable to everyone else as well no?
You're taking this way too personally. When I said some people prefer different things, that's EXACTLY what I meant. When I said I didn't like the C800G, I meant it. The whole notion that if something is good, it's good for EVERYONE is ridiculous. You don't have the same esthetic I do, the same pre's I do, the same converters, maybe the same DAW, record the same style music, like the same things, etc..

75% of the people DID hear it, and they liked it. It was the primary defining difference between the two mics IMO - where the crux of the difference lied.

There's not need for snyde remarks, and honestly, that very thing is why there is so much animosity that surrounds this mic and the low end forum. If you don't like my comments, don't suggest I listen. I told you exactly what the "issue" was for me - HF transients and how they reacted to the guitar.

What I meant by "you can't hear it" wasn't meant as a slam. It's my way of saying that your idea of what constitutes a good sound is different than mine. What draws you to the sound is what pushes me away. There's no harm, no foul in that unless you make it so. Some people like sushi, others like steak, others, are repelled by both and prefer to eat vegetarian. The only problem arises is when one group tries to make all other groups adhere to their personal philosophy. Note I said personal.

I've said many times that the cm6 is good for a lot of people. Now....if they would just let others like what they like, we could all just get along. No?
Old 13th September 2011
  #40
Gear Addict
 
always_ending's Avatar
 

Quote:
Originally Posted by drBill View Post
You're taking this way too personally. When I said some people prefer different things, that's EXACTLY what I meant. When I said I didn't like the C800G, I meant it. The whole notion that if something is good, it's good for EVERYONE is ridiculous. You don't have the same esthetic I do, the same pre's I do, the same converters, maybe the same DAW, record the same style music, like the same things, etc..

75% of the people DID hear it, and they liked it. It was the primary defining difference between the two mics IMO - where the crux of the difference lied.

There's not need for snyde remarks, and honestly, that very thing is why there is so much animosity that surrounds this mic and the low end forum. If you don't like my comments, don't suggest I listen. I told you exactly what the "issue" was for me - HF transients and how they reacted to the guitar.

What I meant by "you can't hear it" wasn't meant as a slam. It's my way of saying that your idea of what constitutes a good sound is different than mine. What draws you to the sound is what pushes me away. There's no harm, no foul in that unless you make it so. Some people like sushi, others like steak, others, are repelled by both and prefer to eat vegetarian. The only problem arises is when one group tries to make all other groups adhere to their personal philosophy. Note I said personal.

I've said many times that the cm6 is good for a lot of people. Now....if they would just let others like what they like, we could all just get along. No?
of course man....

but as I stated, I wasn't being "synde" and am genuinely curious as to what you hear....

I'm trying to learn, as I stated, and am not being rude or trying to attack you.

different strokes for different folks...... trust me, I understand.

I was just asking if you actually heard something that was an obvious "issue" with the mic's response, so I can best learn what to listen for myself when auditioning mics for certain things, since as I stated, I couldn't hear anything that was "wrong"....

maybe not "right" for the specific singer, guitar, room, pick, player, pre-amp, converter, yadda, yadda...

but I didn't find that it was "unusable" or wouldn't take eq well....

anyways, thanks for your suggestions previously on different mics, etc.

and seriously, can we lighten the f up on GS here

people can reply back honestly asking a question WITHOUT personally attacking your "expertise" in matters you know.

Old 13th September 2011
  #41
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Halloween's Avatar
A shoot out should never turn into an argument imo. It is more about letting people form a personal opinion about multiple pieces of gear while avoiding the hype. The nearly 3db was a mistake always and I shouldn't have over looked but with that being said it surely was not the deciding factor for everyone. I think both mics have their place in a studio and I don't feel any less justified for owning a ma200. Arguing opinion is null. Remember we are all on the same team here. Obviously if we are on the shootouts forum we care more about tone and quality than 90% of the hip hop rap star kids on this forum.

Sent from my PC36100 using Gearslutz.com App
Old 13th September 2011
  #42
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kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
There's not need for snyde remarks, and honestly, that very thing is why there is so much animosity that surrounds this mic and the low end forum.
...check the mirror...it's no coincidence that the "anomosity" only occurs when you make your presence felt in these threads...
Old 13th September 2011
  #43
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by always_ending View Post
oI was just asking if you actually heard something that was an obvious "issue" with the mic's response, so I can best learn what to listen for myself when auditioning mics for certain things, since as I stated, I couldn't hear anything that was "wrong"....
Here's the deal. This could be a book, It's far beyond the scope of a post on an internet thread, so no matter how much I type and how hard I try, you're probably not going to be satisfied with my answer - cause it's complicated. There is no Right, there is no Wrong. That would make things sooooooo much easier, but its not going to happen in this lifetime. I'd just like to remark that you stated you were young and inexperienced to some degree - and I wanted to say that's 100% cool by me. We all started somewhere, and it's a growing experience til you power down the console for the last time.....

But......it's where and how you move from there that determines and galvanizes who you are, what you do, defines "your sound", how you get it and whether or not people will CALL on you to help them get it. I don't hide my name, what I do, my credits or my music. It's all available for public analysis and judgement. (Unlike many others around here....)

I started in the analog world. Now I'm in the digital world. What I would have used back then is VERY different that what I would choose now. I pull out what - in my opinion - works. I have lots of mid-focused mics, lots of "dull" mics, lots of BRIGHT mics. I like all of them. I will not pull out any ONE because I have a dogmatic belief that it's the best mic on the planet. They are tools. Plain and simple. One size does not fit all. A master craftsman does not use ONE tool, he uses all his toolbox appropriately - according to his taste, esthetic and experience.

Regarding "what works" and why..........

Every day I have to mix music with exaggerated HF content. Samples, Synths, Bright strings, BRIGHTER strings, bright mics. It seems like everyone is on a brightness binge. Everyone wants to impart the "smiley face" on every track they lay down. Now, couple that with Digital recording which does NOT soften the HF like analog did. Usually what you end up with a a buttload of HF energy tilting the sonic picture out of proper balance. Engineers are not thinking before hitting "record". Or perhaps they are not trained as well, or maybe not as experienced, or maybe suffer hearing loss, or maybe, just maybe........they like bright. Unfortunately, from my perspective as a mixer, that usually doesn't work. It is often (actually usually) counter productive to a good mix. And good mixes are hard. Why would I deliberately choose a tool that would make my final job harder? You're right. I wouldn't. Hence the reason mic 1 sounded better. To me.

So how do you deal with this problem once you're past the point of no return.......????

My secret weapon of choice - at least it's a weapon the almost NO audio engineers will embrace, and a secret that some hold very close to the vest......LPF. Low Pass Filters. Cleaning out and getting rid of much of the sexy high end "detail" and content. WTF?!?!?!?!?!

Am I out of my mind? WHY would I do that? Ask ANYONE on the street which sounds better solo'd - a nice bright CM6 vocal or a CM6 vocal with a LPF with knee set to 6-7k and a 6dB rolloff to soften the 8k chinese U67 capsule bump? They're going to choose the former.

But they don't get paid to mix records. I LPF because it warms up the mix. Makes things punch better. Translates thru mastering better. Brings things back into a better perspective. Helps refocus the energy of the mix into it's proper perspective. SOUNDS better in the big picture. To me. And to my clients. And to their clients. But MOSTLY I do it because people chose the wrong tools (or maybe didn't have the right tools, or were perhpas too rushed) when they cut the tracks.

All this HF content adds up. Lead vocal. Tripled. BGVocals X 20. Bright distorted guitars. And on, and on and on. They sound great........"by themselves". Stacked, EQ'd and Compressed ad nauseum - not so much.



--- So....what's the best, most time effective, most artistic way to get to where you want to go? To capture something as you will need it in a mix with no plugs and faders at unity, or to "fix it in the mix" X 100+? Both can work. I'll let you decide which path you will follow in your career.

(Side note : once upon a time, there was no recall, no automation, no pro tools sessions setting up your mix for you every time you open a session. Once upon a time, an engineers skill was judged by all in the room when they put faders to unity and pressed play on the 2' machine. If it sounded great "as is", it got a thumbs up. If it took the engineer at the console a half hour to get it sounding "ok", eh.....not so much.)



Bright mics are alluring. They are exciting. They are "detailed". They are often the #1 pick of those who are not looking at the BIG picture - (ie: how it will sound in the mix, with music all around it). But - IMNSHO - they are not what we need in digital music.

The "big" picture becomes tilted, smeared, unfocused (or maybe HYPER-focused is a better description) and looses depth when the wrong tools are used. Again, I'm not saying I'm right, and all cm6 users are wrong - I'm just letting you know why I shy away from bright mics like the CM6 - UNLESS brightness is really needed. (And on a Taylor.....heh that's probably not often)

If it's all you got, if it's the best you got, if it makes your singer SING, if you dig it and have a hundred other mics, if it brews coffee for you - FANTASTIC - go make music with it.

And allow me the freedom to make mine.
Old 13th September 2011
  #44
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Halloween View Post
A shoot out should never turn into an argument imo.
I couldn't agree more.


Quote:
Originally Posted by kidvybes View Post
...check the mirror...it's no coincidence that the "anomosity" only occurs when you make your presence felt in these threads...
Getting along is a two way street my friend.....I can only deliver my thoughts with so much candy coating until SOMEONE gets their panties in a wad. Sorry, can't sugar coat the truth. There is room for more than one viewpoint in this world.
Old 13th September 2011
  #45
Gear Addict
 
always_ending's Avatar
 

Quote:
Originally Posted by drBill View Post
Here's the deal. This could be a book, It's far beyond the scope of a post on an internet thread, so no matter how much I type and how hard I try, you're probably not going to be satisfied with my answer - cause it's complicated. There is no Right, there is no Wrong. That would make things sooooooo much easier, but its not going to happen in this lifetime. I'd just like to remark that you stated you were young and inexperienced to some degree - and I wanted to say that's 100% cool by me. We all started somewhere, and it's a growing experience til you power down the console for the last time.....

But......it's where and how you move from there that determines and galvanizes who you are, what you do, defines "your sound", how you get it and whether or not people will CALL on you to help them get it. I don't hide my name, what I do, my credits or my music. It's all available for public analysis and judgement. (Unlike many others around here....)

I started in the analog world. Now I'm in the digital world. What I would have used back then is VERY different that what I would choose now. I pull out what - in my opinion - works. I have lots of mid-focused mics, lots of "dull" mics, lots of BRIGHT mics. I like all of them. I will not pull out any ONE because I have a dogmatic belief that it's the best mic on the planet. They are tools. Plain and simple. One size does not fit all. A master craftsman does not use ONE tool, he uses all his toolbox appropriately - according to his taste, esthetic and experience.

Regarding "what works" and why..........

Every day I have to mix music with exaggerated HF content. Samples, Synths, Bright strings, BRIGHTER strings, bright mics. It seems like everyone is on a brightness binge. Everyone wants to impart the "smiley face" on every track they lay down. Now, couple that with Digital recording which does NOT soften the HF like analog did. Usually what you end up with a a buttload of HF energy tilting the sonic picture out of proper balance. Engineers are not thinking before hitting "record". Or perhaps they are not trained as well, or maybe not as experienced, or maybe suffer hearing loss, or maybe, just maybe........they like bright. Unfortunately, from my perspective as a mixer, that usually doesn't work. It is often (actually usually) counter productive to a good mix. And good mixes are hard. Why would I deliberately choose a tool that would make my final job harder? You're right. I wouldn't. Hence the reason mic 1 sounded better. To me.

So how do you deal with this problem once you're past the point of no return.......????

My secret weapon of choice - at least it's a weapon the almost NO audio engineers will embrace, and a secret that some hold very close to the vest......LPF. Low Pass Filters. Cleaning out and getting rid of much of the sexy high end "detail" and content. WTF?!?!?!?!?!

Am I out of my mind? WHY would I do that? Ask ANYONE on the street which sounds better solo'd - a nice bright CM6 vocal or a CM6 vocal with a LPF with knee set to 6-7k and a 6dB rolloff to soften the 8k chinese U67 capsule bump? They're going to choose the former.

But they don't get paid to mix records. I LPF because it warms up the mix. Makes things punch better. Translates thru mastering better. Brings things back into a better perspective. Helps refocus the energy of the mix into it's proper perspective. SOUNDS better in the big picture. To me. And to my clients. And to their clients. But MOSTLY I do it because people chose the wrong tools (or maybe didn't have the right tools, or were perhpas too rushed) when they cut the tracks.

All this HF content adds up. Lead vocal. Tripled. BGVocals X 20. Bright distorted guitars. And on, and on and on. They sound great........"by themselves". Stacked, EQ'd and Compressed ad nauseum - not so much.



--- So....what's the best, most time effective, most artistic way to get to where you want to go? To capture something as you will need it in a mix with no plugs and faders at unity, or to "fix it in the mix" X 100+? Both can work. I'll let you decide which path you will follow in your career.

(Side note : once upon a time, there was no recall, no automation, no pro tools sessions setting up your mix for you every time you open a session. Once upon a time, an engineers skill was judged by all in the room when they put faders to unity and pressed play on the 2' machine. If it sounded great "as is", it got a thumbs up. If it took the engineer at the console a half hour to get it sounding "ok", eh.....not so much.)



Bright mics are alluring. They are exciting. They are "detailed". They are often the #1 pick of those who are not looking at the BIG picture - (ie: how it will sound in the mix, with music all around it). But - IMNSHO - they are not what we need in digital music.

The "big" picture becomes tilted, smeared, unfocused (or maybe HYPER-focused is a better description) and looses depth when the wrong tools are used. Again, I'm not saying I'm right, and all cm6 users are wrong - I'm just letting you know why I shy away from bright mics like the CM6 - UNLESS brightness is really needed. (And on a Taylor.....heh that's probably not often)

If it's all you got, if it's the best you got, if it makes your singer SING, if you dig it and have a hundred other mics, if it brews coffee for you - FANTASTIC - go make music with it.

And allow me the freedom to make mine.


thank you drBill for the answer.

I completely understand your POV and agree with you in most all of what you've written from what I've read/heard.

Tho, I haven't tried to LPF any of the highs on things like vocals down from 6-7khz..... I WILL try to do so and see the results, because as I stated, I AM trying to learn as much as humanly possible given my time/money constraints! (aren't we all!?!?)

I do agree that many digital mixes are far too "bright" sounding for myself personally, which is why I've been reading/learning about how to properly use my Dangerous 2 Bus and external comps/eq's to help bring back some of that analog warmth. It'll do, until that day I blow my wad (which I plan on doing) and purchasing a full analog console.

Again, that's why I do highly LOVE the sound that the new ribbons are putting out, and am all about them on most all applications that I can get them on.... haven't yet tried on acoustics or vox, but I need too!

But, I do tend to favor a sound with many people's vox's that has a bit higher detail and acoustic guitars.... which is why I'm satisfied with this purchase. Not to mention using it in omni for room mic-ing.

As my gear locker gets upgraded throughout the years I'll continue to use and learn every piece of gear I have as much as I can.... I LOVE doing this, which is why I'm here in the 1st place!


Halloween, I wasn't arguing with drBill, I was asking him to clarify his "meaning" of the words he used to describe the sound he was hearing, in hopes of learning something myself.....

and you know how you'll NEVER learn?

by NOT asking questions or trying new things..... 2 things I can guarantee I will not be found guilty of after I've passed to the beyond
Old 13th September 2011
  #46
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
There is room for more than one viewpoint in this world.
...no one has any problem with a differing viewpoint, when stated in a civil and respectful manner...that is, afterall the goal of a shootout discussion like this...it's the re-occuring innuendo in multiple threads, about "sheep" and "drinking the Kool-Aid" that go beyond simple differing viewpoints, and into the realm of the distasteful...
Old 13th September 2011
  #47
Lives for gear
 

Great post DrBill ... I know we argue sometimes, but I almost always learn something/remember something I've let myself forget when I read your posts.
Old 13th September 2011
  #48
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by kidvybes View Post
...no one has any problem with a differing viewpoint, when stated in a civil and respectful manner...that is, afterall the goal of a shootout discussion like this...it's the re-occuring innuendo in multiple threads, about "sheep" and "drinking the Kool-Aid" that go beyond simple differing viewpoints, and into the realm of the distasteful...
What can I say man. If you're going to dish it out, you'd better be able to take it. The internet is a pretty unforgiving place. I'd expect nothing less from you and your buds.
Old 13th September 2011
  #49
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by timlloyd View Post
Great post DrBill ... I know we argue sometimes, but I almost always learn something/remember something I've let myself forget when I read your posts.
Thanks for the kind word man. Same back atcha. If people can lay it out and not take offense to a differing opinion, GS would be a lot more fun, but even being what it is, I think we all learn a lot anyway.
Old 13th September 2011
  #50
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by always_ending View Post
Tho, I haven't tried to LPF any of the highs on things like vocals down from 6-7khz..... I WILL try to do so and see the results, because as I stated, I AM trying to learn as much as humanly possible given my time/money constraints! (aren't we all!?!?)

Try it on all different elements of the mix, and dont be a slave to the exact freq I suggested. Also play with the slopes. Sometimes gentle rolloffs are all it takes up high. Other times, more severe interaction is necessary on certain elements. Converters make a big difference in where and how you're rolling off here, Great monitoring is critical as well... Good luck with it.
Old 13th September 2011
  #51
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
What can I say man. If you're going to dish it out, you'd better be able to take it. The internet is a pretty unforgiving place. I'd expect nothing less from you and your buds.
...this has absolutely nothing to do with "dishing it out" or "taking it"...you repeatedly post in any thread dealing with the Stellar CM-6, for a very obvious reason...you recognize that the CM-6 is a very popular product on the low-end forum and that CM-6 related threads have a very high hit rate (the current "Stellar CM-6 Clips" thread approaching 20,000 hits!)...so you get into the conversation with the clear intent to spam the thread with Joly-modded mic references whenever the opportunity arises, as you have done on this thread (along with links)...nobody has a problem with your opinion about the CM-6, or your love for Michael's mics...it's the constant spamming that's obvious and obnoxious...you've been doing this repeatedly for many months...and then you have the nerve to accuse others of being a "shill" or "salesman"...you don't see me (or any of "my buds") going on Oktavamod related threads spamming CM-6 references or talking about products we don't own or have no practical experience with...in doing so, you're the perpetuator of all the "animosity" and confrontational negativity you complain about...this isn't about "dishing it out", it's about historical fact...just calling it like it is...

...have a pleasant evening!...
Old 14th September 2011
  #52
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by kidvybes View Post
you don't see me (or any of "my buds") going on Joly related threads spamming CM-6 references or talking about products we don't own or have no practical experience with...in doing so, you're the perpetuator of all the "animosity" and confrontational negativity you complain about...this isn't about "dishing it out", it's about historical fact...just calling it like it is...

...have a pleasant evening!...
hehheh Short memory? Or creative intrepretation? heh I thought the whole point of this shootout is to compare two mics that perhaps NO ONE listening had heard before and compare them. I was not aware that it was a love fest where one could ONLY like both mics (especially the CM6) on all sources. Do we care or really need to go back and search out your animosity to MJ? Of course you're not on Joly threads. He's been banned for speaking candidly and abrasively to you and your "buds". So there's no threads for you to spam unless you go way back into the old days and dredge up old threads, but back in the day, the Joly haters - you included - were out in force and helped create the division in the mic threads at GS.

I'm not sure how you could construe that I'm spamming his mics on this thread. I'm here giving honest opinion BEFORE the reveal, and then explanation as to why I prefer mics other than tube LDC's for ac gtr, then why I prefer mid focused mics over bright mics in a MIX situation. I obviously bring a perspective that's in opposition to yours, and I think that's what you don't like. I perceive that you prefer to be seen as the hipster leading all new mic sluts to the gems of micdom. Having opposing opinion to your likes is not kosher. Hey, I'm not telling people they are wrong in their likes, only explaining why I choose what I choose. Is that not fair?

You on the other hand are intent on trying to misconstrue my reasons for being here with every post. Honestly, it's pretty amusing to see you get flustered. You are the one bringing in the drama - you alone. The rest of us are talking about the mic comparison and how it relates to our workflow and TRYING to understand each other's perspectives. I've never said the CM6 sucks. In fact, just the opposite. I said I'm sure it's a great mic since so many love it. What I DID say is that it doesn't work for me.

Can you not accept that? If you don't like drama, why not comment on the two mics, explain which you like and why and leave the drama out of it. Or just not post at all.
Old 14th September 2011
  #53
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by drBill View Post
If you don't like drama, why not comment on the two mics, explain which you like and why and leave the drama out of it. Or just not post at all.
...actually, it's my numerous previous posts/threads, detailing what I like about the CM-6 and how it compares to other more expensive tube mics I own (including two MA-200's) that brought many people's attention to the mic in the first place...I prefer to comment on products I own and use, so there's no "Joly hate" here...never owned or used one...
...as for your perspective, that's never been the problem...but I'm not the one using phrases like "drink the Kool-Aid" or complaining about animosity and drama, you are...


...I would be more than happy to provide links to the now "locked" threads documenting my thoughts and audio files pertaining to the CM-6 (from first hand experience with these products) for anyone interested...these older CM-6 threads are loaded with additional sample audio files, as well as lots of info and pics comparing the CM-6's build quality to other more expensive mics...CM-6 tube upgrade suggestions are also detailed in these earlier threads...if you're interested, simply PM me for the links...
...on an entirely different note, I have recently come across another "exceptional value" tube LDC mic manufactured in the same factory with the same build quality as the CM-6, that offers a "darker" voicing (more rolled-off top-end) and sells for a similar pricepoint, for those that may be interested in another "flavor" for their mic closet (PM me for further info)...I plan on posting further info in a more appropriate forum when available...and no, it's not a Stellar mic, but it's voicing would be a good complimentary companion piece to the CM-6 (or for those with a "different perspective")...
Old 14th September 2011
  #54
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by kidvybes View Post
as for your perspective, that's never been the problem...but I'm not the one using phrases like "drink the Kool-Aid" or complaining about animosity and drama, you are...
You know what, that's fair enough. No one ever accused me of not having an opinion. heh I'll make you a deal. YOU and your buds allow me to have an opinion that's potentially in opposition to yours, and I'll drop the kool-aid remarks as they will no longer be needed. No? Oh well, I tried.

Now, a good start would be you dropping the sideline drama so we can get back to mics....
Old 14th September 2011
  #55
Gear Nut
 
ajschuk's Avatar
 

Quote:
Originally Posted by drBill View Post
You know what, that's fair enough. No one ever accused me of not having an opinion. heh I'll make you a deal. YOU and your buds allow me to have an opinion that's potentially in opposition to yours, and I'll drop the kool-aid remarks as they will no longer be needed. No? Oh well, I tried.

Now, a good start would be you dropping the sideline drama so we can get back to mics....
Can you guys just knock it off??!! These on and on rants are getting really old. . . Start your own thread about how Dr. Bill knows more than anyone else and then argue there so the rest of us dont have to sift through the BS. Better yet, does anyone know how to block posts from certain Slutz?
Old 14th September 2011
  #56
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by ajschuk View Post
Can you guys just knock it off??!! These on and on rants are getting really old. . . Start your own thread about how Dr. Bill knows more than anyone else and then argue there so the rest of us dont have to sift through the BS. Better yet, does anyone know how to block posts from certain Slutz?
...you're right, and I apologize if my remarks took the thread off track...until recently I was using the "ignore" feature myself, so as not get drawn back into this nonsense...just click on "User CP" and enter the member name on the "edit ignore list", to block unwanted postings...it's a nice option...again, sorry for the derailing...
Old 15th September 2011
  #57
Lives for gear
 
Halloween's Avatar
Quote:
Originally Posted by always_ending View Post
Halloween, I wasn't arguing with drBill, I was asking him to clarify his "meaning" of the words he used to describe the sound he was hearing, in hopes of learning something myself.....
I agree, I was talking more about his argument with the other guy...
Old 15th September 2011
  #58
Gear Addict
 
always_ending's Avatar
 

So, anyways....

I got curious last night about painting the mic's body seeing as it is kinda "boring" looking I thought I might try and spice it up.

I sanded the body lightly with 100 grit paper and painted the body with a dark blue Rust Oleum paint. I think it came out pretty good and makes the mic look pretty cool now, adding a lil color to it, hell... it's only a $400 mic heh

what ya'll think?
Attached Thumbnails
Stellar CM-6 Vs Mojave MA-200-stellar-1.jpg   Stellar CM-6 Vs Mojave MA-200-stellar-2.jpg  
Old 15th September 2011
  #59
Gear Nut
 
elisasound's Avatar
Quote:
Originally Posted by always_ending View Post
So, anyways....

I got curious last night about painting the mic's body seeing as it is kinda "boring" looking I thought I might try and spice it up.

I sanded the body lightly with 100 grit paper and painted the body with a dark blue Rust Oleum paint. I think it came out pretty good and makes the mic look pretty cool now, adding a lil color to it, hell... it's only a $400 mic heh

what ya'll think?
Wow. Nice!
Old 15th September 2011
  #60
Lives for gear
 
dickiefunk's Avatar
Quote:
Originally Posted by always_ending View Post
So, anyways....

I got curious last night about painting the mic's body seeing as it is kinda "boring" looking I thought I might try and spice it up.

I sanded the body lightly with 100 grit paper and painted the body with a dark blue Rust Oleum paint. I think it came out pretty good and makes the mic look pretty cool now, adding a lil color to it, hell... it's only a $400 mic heh

what ya'll think?
Looks great!!
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