The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Looking for another high end vocal mic..... Need Suggestions Condenser Microphones
Old 27th April 2015
  #31
Gear Addict
 
moonpi's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
Thanks for all that - yes, the Z-251 was mentioned in this thread already..

I believe I am referring to that C12-variant yes. To be honest, I'd need to check...

Interesting comments re the C12/251 comparison. You've got me rethinking things now...maybe I'll get the Z-251, and a pair of the T-FET C12s....I'm really looking for another option for omni/fig 8 pairs as well as something that'll be useful as a drum overhead, as well as vocal mic....whilst I'm sure I'll like the Z-12, it'd be a shame to commit to two if I didn't like it as much as the 251 for vox!
A pair of Vienna 12-T with LaChapelle preamps is a fine way to split the difference. Not a total replacement for Z-12s; just a great way to gain a complimentary character - especially for drum overheads. The 992 is wonderful in that application.
Old 27th April 2015
  #32
Gear Head
 

I would whole heartedly suggest the ADK Custom Shop Line. I own 5. The 251 is my go to mic for pop, country, rap, metal, gospel, rock, male, female… you name it. I've used mine on hundreds of singers and well over a thousand songs by now. I actually bought a spare in case it ever goes down, lest I be without it for a day or 2. I've tried hundreds of mics over the years, and got to sample many of the holy grail mics when I was at certain studio in NYC. The 251 is the first mic that cured my mic stress. I didn't need to wonder what else was out there anymore.

I also own the CS-12 = brighter, great on females, violin, rap and spoken word. I own the CS-67 = GREAT as a more mellow pop mic, gospel singers love it, and metal yellers LOVE the fact that it doesn't ice pick you when you belt into it. I own the CS-47Y = Yellowcap version. Great crooner mic. Probably a little dull for modern pop BUT… Great on upright bass and best sax and violin mic I've ever used/heard.

I don't work for ADK. But I am insanely passionate about what they've done for my business. They were the first mics that allowed me to STOP WORRYING and go to work. I tried SO many mics before them, and was able to buy whatever the studio wanted. The ADKs just worked for what I needed. As a studio owner, I'm thrilled at their durability, reliability, and excellent service team (they clean them etc every year or so).

I am more than willing to share more samples than you'll ever want to hear. email me at brian [at] brianjanthony.com. You can also stop by the studio and hear them in person (by appointment) if you're near Allentown PA. I had a sound cloud page for a few quick clips years ago. But I have SO many more examples than that…. https://soundcloud.com/brianjanthony...k-mic-examples

Seriously, they are a great company. They aren't just mic salesmen. They care. About their products, and about the people that use them. Is that necessary? Does it make you sound better? No. But they've got the sound part covered anyway. It's still nice to deal with down to earth, good folks who love to do this stuff as much as we do.

[and yes, I do own their Vienna, Hamburg, and Thors… and I use them daily]
Old 27th April 2015
  #33
Quote:
Originally Posted by moonpi View Post
A pair of Vienna 12-T with LaChapelle preamps is a fine way to split the difference. Not a total replacement for Z-12s; just a great way to gain a complimentary character - especially for drum overheads. The 992 is wonderful in that application.
Sounds good...I have Schoeps, API and Neve pres so I'm probably set there but good to hear. I was just worried I might be missing out on a lot!

Quote:
Originally Posted by brithedark View Post
I would whole heartedly suggest the ADK Custom Shop Line. I own 5. The 251 is my go to mic for pop, country, rap, metal, gospel, rock, male, female… you name it. I've used mine on hundreds of singers and well over a thousand songs by now. I actually bought a spare in case it ever goes down, lest I be without it for a day or 2. I've tried hundreds of mics over the years, and got to sample many of the holy grail mics when I was at certain studio in NYC. The 251 is the first mic that cured my mic stress. I didn't need to wonder what else was out there anymore.

I also own the CS-12 = brighter, great on females, violin, rap and spoken word. I own the CS-67 = GREAT as a more mellow pop mic, gospel singers love it, and metal yellers LOVE the fact that it doesn't ice pick you when you belt into it. I own the CS-47Y = Yellowcap version. Great crooner mic. Probably a little dull for modern pop BUT… Great on upright bass and best sax and violin mic I've ever used/heard.
Great info. So you consider the CS12 brighter than the 251? ADK themselves suggest the 251 is brighter overall..but maybe just a different kind of bright?

And now...if you were in my situation, with a number of mics already in the cupboard...pair of U67s, a vintage 87, an M149, any assortment of dynamics...but no C12, no U47, no 251....would you suggest taking my route - the CS251, plus a pair of the Vienna 12-Ts, or would you consider it worth getting a pair of the CS12s as a priority?
Old 27th April 2015
  #34
Lives for gear
 

The Paluso P67 is my first choice for vocal capture when smooth sonic detail is needed. I have three other Paluso tubes plus two other good valve mics that I have set up to use for live performance however the P67 has never disappointed me. I use an ADL600 pre for additional warmth when called for and a UA 4-710d for clean transparent capture.
Old 27th April 2015
  #35
Lives for gear
ADK great company, excellent mics, second to none customer service.
Old 28th April 2015
  #36
Gear Maniac
 
Larry Villella's Avatar
.

Quote:
Originally Posted by psycho_monkey View Post
So you consider the CS12 brighter than the 251? ADK themselves suggest the 251 is brighter overall..but maybe just a different kind of bright?
This is a very good question!

Many folks "hear" the Z-12 (And CS-12) to be brighter.

That's because the mid/upper mids 5kHz are more pronounced than
a Z-251 (CS-251). The 251 has more "Air-Band" 15kHz than the
12, which for quite a lot of us is beyond our threshold of hearing
(whether it's because of age or too much rock-and-roll) . . . .

So while in technical terms the 251 is more brilliant, the perception
may vary depending on how well you hear in the 15k to 20kHz range.

.
Old 29th April 2015
  #37
Lives for gear
 
kidvybes's Avatar
 

...another great option is the RMS Audio RMS269...Robert Sestili, a veteran microphone restoration specialist in Chicago, employs the ADK Custom-Shop capsules as an option in most of his custom-mic builds...this particular mic utilizes the ADK GK67d capsule and works beautifully on both male and female vocals...wonderful tone without any knees or elbows sticking out...IMHO, a great value at this price-point...Robert has found a submini tube (not the typical 5840) that does a wonderful job in place of the rare original AC701 tube...the M269 was another one of those holy-grail mics that flies a bit below the radar, but often delivers better results on vocals than it's more famous sibling, the U67...

...well worth a look!

RMS269
Old 29th April 2015
  #38
Lives for gear
 
Motoxxx's Avatar
 

Quote:
Originally Posted by [email protected] View Post
251 is generally a better all rounder than a C12. I also have U47, M49 etc but it's the 251 usually wins the day when it comes to vox.
Old 29th April 2015
  #39
Lives for gear
 
DougS's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
... I'm demoing an ADK Z-mod 251
Please let us know how the ADK turns out for you.
Old 29th April 2015
  #40
Lives for gear
 
timtoonz's Avatar
Curious about the ADK mics; I notice there are various transformer/component options.

What would be considered the standard or most-desirable options for the 67 or 251 'style' models?
Old 29th April 2015
  #41
Gear Addict
 
Pred80r's Avatar
 

414/C12 Mic

I recently purchased a 414 that just happened to have a C12 capsule in it. What a piece of glorious silk!!! It has all the presence of a hyped Sony C800 and all the butter of a U47 with the V14 tube...if you eq it correctly. It can get WAY out of whack with placement and polarization so use your math when tracking with this gem.
Old 29th April 2015
  #42
Gear Maniac
 
Tommyswami's Avatar
The u87 has always been a great all around sound the Mojave m-200 is also great very for lack of better words creamy sounding
Old 30th April 2015
  #43
Quote:
Originally Posted by DougS View Post
Please let us know how the ADK turns out for you.
Well, I think I'm going to make it permanent with the 251.

I've been tidying up the vocals I recorded with it last weekend, and they sound great - through a schoeps VSR-5 pre (with a hi-pass @ 40Hz) and distressor, with no other processing bar a bit of Altiverb plate, they're practically mix-ready. And this was with a Jeff-buckley-esque singer, not the female pop stuff I thought it would be most suited to.

I'd love to compare the C12 capsule option too, but I think for now I'm going to stick with what I'm liking. I'd hate to get the Z-mod C12 and not like it as much as the 251.

I may well go with a pair of Vienna 12-Ts at some point too, can't afford them as well right now though!
Old 7th May 2015
  #44
Easy, GET AN RCA 44BX !!!!! Get one of those and a cloudlifter cl-z and prepare for the the most slutty sound there is. Pure Sluttiness. All the way nice. The missing link. Holy Grail. The alpha and the omega, the start and the finish. The beginning and the end. Harmonically rich and smooth sound. Takes eq beautifully. They are a disgustingly good mic. (Get re-ribboned and re-cabled << Stephen Sank). World Class mic with a lot of vibe and history. Worth every penny. Don't eat food. Save all your money and get one. Sleep on the floor & eat Ramen noodles if you have to, but get one.
Old 8th May 2015
  #45
Gear Maniac
 
Larry Villella's Avatar
If you're trying to get the Sinatra Sound of the late 1930's / early 1940's,
then the RCA is the microphone of choice. Dark, Velvety, super Creamy.

You'll notice by the late 1940's he's switched to U-47's. As loudspeakers began
to reproduce higher frequencies, microphones extended their range in response.

While the U-47 dropped like a rock at around 10kHz, the U-67 extended to 15kHz.

And so on.

Ribbons and older Condensers certainly have their place in a mic locker!

And - like C-12 and variations, these mics sound good in some applications
but can be lacking in others. Having a range of sonic paintbrushes is better
than having one 'holy grail' microphone in my view (no matter what one thinks
is the 'holy grail'). As we found out over the past near half-decade with the
sound-engineers at Jazz at Lincoln Center - the 67 flavor is best on All the
Horns, Except the Baritone, which sounded best on a 251 flavor. So it goes. . .

In re-reading the original post, I think that Scott has a Mellow Mic and a Clean
Modern Mic, and that if it were me, I'd want to round-out the tone-color choices
by adding something like a 67 flavor, which is in-between those two color-ranges.
.
.
Old 9th May 2015
  #46
Lives for gear
 
Aisle 6's Avatar
As GT-Jumper mentioned...the Audio Technica AT5040 is outstanding.

It is a completely new design with four rectangular capsules and after I was sent one to try, I could not give it back. It is really different to everything else I have and works on so many sources really well. Big, bold and true is the best way to describe it. I push came to shove and I only had one LDC mic, my U67 may not be the one that stays over this mic. To be honest, if more people tried this newcomer the threads would be lighting up. A few of my peers have tried it and now either own one or have it on their to buy list.

FYI. I do not work for AT and own a few AT mics as well as all the usual suspects.
Old 9th May 2015
  #47
Gear Guru
 
Sounds Great's Avatar
 

Quote:
Originally Posted by Aisle 6 View Post
As GT-Jumper mentioned...the Audio Technica AT5040 is outstanding.

It is a completely new design with four rectangular capsules and after I was sent one to try, I could not give it back. It is really different to everything else I have and works on so many sources really well. Big, bold and true is the best way to describe it. I push came to shove and I only had one LDC mic, my U67 may not be the one that stays over this mic. To be honest, if more people tried this newcomer the threads would be lighting up. A few of my peers have tried it and now either own one or have it on their to buy list.

FYI. I do not work for AT and own a few AT mics as well as all the usual suspects.

Interesting observation. I have always found AT to make really good sounding stuff, from headphones to microphones and phono cartridges as well, the name just doesn't seem as cool in the studio.

The small D 4051 is the most under rated microphone ever i.m.o. I think it could replace many a Neumann or other high cost mic if you cover the name plates. Sounds like this 5040 is worth checking out.
Old 9th May 2015
  #48
Quote:
Originally Posted by Slikjmuzik View Post
Can anyone comment on sonic differences between the Bock and Tfunk vs. more inexpensive varieties such as Perlman or Peluso. I have a JJ Audio Dutch and I honestly love it. I've captured some of my finest vocals with it. Wondering what to expect out of the higher pricetag...??
Roundbadge mentioned it as the Tfunk being slightly compressed sounding in a good way and the Bock more open.
Honestly I can hear differences without a doubt - they are not the 'same' but both are amazing.
I can;t really put much meaningful into words but if you can hear both - do.
Old 9th May 2015
  #49
Lives for gear
 

Like I said in a previous post. I've compared the t-funk 251 to each of the big 5 condensers and while they are all great, I have to say I think the 251 is the most versatile and the one I go to the most.

It can get deep in rich when you get up close, back off and you get just this natural effortless sounds like the room but better. I've never heard such an open top end that is this silky.

While I like to have choices especially when it comes to microphones if I had to take onlynone of mine it would be the 251 followed closely by the U67
Old 10th May 2015
  #50
Lives for gear
 
IanBSC's Avatar
My Bock 507 has been getting a lot of use lately. It's more shimmery and detailed than any 251 type mic, but also a bit cleaner leaning to Brauner kind of sound. The last band that came through commented on how nice it sounded.
Old 10th May 2015
  #51
Lives for gear
 
KevWind's Avatar
Quote:
Originally Posted by Scott Shane View Post
Hi All,

So I've got a Flea Vintage 47 and a Josephson C716. Speaking very generally, the Flea covers the tube, warm, retro sound and the Josephson covers the more modern, clean, forward sound. I am extremely pleased with both mics on vocals and instruments.

But I'm looking to add another flavor of high end vocal mic but not sure what flavor to add next. What flavor would you add? A 49 type sound, a C12 type, a 67 flavor, or something else altogether. Thanks for your opinions!
One thought would be since you have a FET and tube why not look into a Shure SM7B for a completely different flavor after all it worked for Michael Jackson

Or as some have suggested on of the Ribbon mic's or both
Old 10th May 2015
  #52
Lives for gear
 
PatrickFaith's Avatar
 

Quote:
Originally Posted by Pauly Stax View Post
Easy, GET AN RCA 44BX !!!!! Get one of those and a cloudlifter cl-z and prepare for the the most slutty sound there is. Pure Sluttiness. All the way nice. The missing link. Holy Grail. The alpha and the omega, the start and the finish. The beginning and the end. Harmonically rich and smooth sound. Takes eq beautifully. They are a disgustingly good mic. (Get re-ribboned and re-cabled << Stephen Sank). World Class mic with a lot of vibe and history. Worth every penny. Don't eat food. Save all your money and get one. Sleep on the floor & eat Ramen noodles if you have to, but get one.
It took me far to long to start on AEA mic's, and once i did i probably am more then 60% on ribbons with voice. Another nice thing is I find they are real good in rooms that have frequency problems, in that if I move them around i can really remove problems easily. Actually the only large condenser that has the control of a ribbon mic that I have is a m149.

Quote:
Originally Posted by Larry Villella View Post
If you're trying to get the Sinatra Sound of the late 1930's / early 1940's,
then the RCA is the microphone of choice. Dark, Velvety, super Creamy.
...
In re-reading the original post, I think that Scott has a Mellow Mic and a Clean
Modern Mic, and that if it were me, I'd want to round-out the tone-color choices
by adding something like a 67 flavor, which is in-between those two color-ranges.
Agree, I often mix in my wunder u67 clone with my ribbon mics for recording, it seems to really fill things in. I btw think a lot of people have too many large condensor mics, when really a high end eq is all the difference needed between buying a bunch of condensers. On the other hand, a high end eq really can't touch the sound of a high end ribbon/pre combo.
Old 14th May 2015
  #53
Lives for gear
 
Aisle 6's Avatar
Quote:
Originally Posted by Sounds Great View Post
Interesting observation. I have always found AT to make really good sounding stuff, from headphones to microphones and phono cartridges as well, the name just doesn't seem as cool in the studio.

The small D 4051 is the most under rated microphone ever i.m.o. I think it could replace many a Neumann or other high cost mic if you cover the name plates. Sounds like this 5040 is worth checking out.
I agree, the brand is not considered as cool as some, but they all work very well. However, the 5040 is something else. Do not try one unless you are prepared to buy one. Just warning you now. ; )
Old 21st May 2015
  #54
Here for the gear
Quote:
Originally Posted by Scott Shane View Post
Hi All,

So I've got a Flea Vintage 47 and a Josephson C716. Speaking very generally, the Flea covers the tube, warm, retro sound and the Josephson covers the more modern, clean, forward sound. I am extremely pleased with both mics on vocals and instruments.

But I'm looking to add another flavor of high end vocal mic but not sure what flavor to add next. What flavor would you add? A 49 type sound, a C12 type, a 67 flavor, or something else altogether. Thanks for your opinions!


Bock 251

Great mic.
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump