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Brauner VMX/VME vs. Telefunken ELA M 251T vs. Sony C800G?
Old 19th May 2019
  #1
Gear Nut
 

Brauner VMX/VME vs. Telefunken ELA M 251T vs. Sony C800G?

I'm looking to purchase the one and only microphone that I will use to record my voice and acoustic guitar.

Considering:
  • Brauner VMX
  • Sony C800G
  • Telefunken ELAM 251T (with CK13 capsule)

Searches on gearslutz and google have yielded a couple of very short examples of the Brauner VM1 and VMX on vocals but I would like to hear full productions containing these mics.

Does anyone have audio examples of the Brauner VMX on vocals or acoustic guitar?
Old 19th May 2019
  #2
Lives for gear
 

Brauner VM (1, X, A) & Sony C-800G are great choices & you can't go wrong with either. You'll have to try them out on your vox & environment.

If you're looking for a 251, there's the Bock, Upton, ADK, etc. Or others with a CT-12 (Campbell) capsule.
Not sure what the CK-13 sounds like but if you're interested in a platinum capsule the REDD mic has one & is in the sound group you're looking for.
Old 20th May 2019
  #3
Lives for gear
 
Will The Weirdo's Avatar
Quote:
Originally Posted by dantheman360 View Post
I'm looking to purchase the one and only microphone that I will use to record my voice and acoustic guitar.

Considering:
  • Brauner VMX
  • Sony C800G
  • Telefunken ELAM 251T (with CK13 capsule)

Searches on gearslutz and google have yielded a couple of very short examples of the Brauner VM1 and VMX on vocals but I would like to hear full productions containing these mics.

Does anyone have audio examples of the Brauner VMX on vocals or acoustic guitar?
Add the Chandler REDD onto that list IMHO.

Now as to those 4 mic options, you'll want to test all 4 of them yourself as I've personally used 3 on the list and all are top notch and will record fantastic quality recordings. On different sources I would prefer different from the list but I could easily record using any of them forever if needed, lol.

Think of it like this...... you just asked us should you take the Bentley, Rolls, Lambo, or Ferrari on your next road trip, lol. All 4 will get you there in style but each do it a different way, which way to go will just depend on the person driving.

Best of luck in your decision.
Old 20th May 2019
  #4
Gear Nut
 

I would like to add a Dieter Schopf Convertable Fet with a 800 capsule to the list. Very warm sounding with clear and open mids and a big bass. Quite cheap with 1800€ plus tax and you can change easily the capsule without changing the microphone. Very similar to the C800G but with a better resolution in the mids. I still have the Brauner VMA, but the value of the Convertable Fet is incredible. I think it's the best Fet I have ever seen. Sounds every way as good as a tube mic.

Last edited by Starstreet; 20th May 2019 at 09:47 PM..
Old 20th May 2019
  #5
Gear Nut
 

Quote:
Originally Posted by Will The Weirdo View Post
Add the Chandler REDD onto that list IMHO.

Best of luck in your decision.
Thank you!

I've been listening to tons of raw vocal audio files in my DAW recorded with vintage 251s and C12, Telefunken USA 251s and C12 reissues, Sony C800-G and Chandler REDD.

I've been evaluating how these different mics take EQ and compression, and how they sound in the context of music. After several weeks of critical listening, here's what I've found:

Vintage
The vintage 251s and C12s sound 3D. Like the voice is jumping outside of the speakers and all the way behind your ears. No modern mics seem to be able to recreate this effect. I've noticed it on vintage 87 and u47 audio files as well.

Telefunken USA
The Telefunken USA reissues have some of that 3D depth but don't sound as smooth as their vintage counterparts. The very few Brauner VMX and VM1 examples I've heard have that 3D depth and are attractive to me because they have a cleaner sound than the Telefunken USA mics.

Chandler REDD
The REDD has a beautiful EQ curve, very pretty...but unfortunately doesn't have that 3D quality. It's very sensitive, it's pretty, but it doesn't have that front to back depth. It feels like the sound gets squished into a 2D image, like you're looking at a very glossy picture of a person in a magazine vs. being in front of them.

It seems that no other mic manufacturers other than Telefunken USA and Brauner have been able to reproduce that 3D'ness. I suspect it may have to do with how capsules are built.

Has anyone else noticed this?
Old 20th May 2019
  #6
Gear Maniac
 
___GLM___'s Avatar
Quote:
Originally Posted by dantheman360 View Post
Thank you!

I've been listening to tons of raw vocal audio files in my DAW recorded with vintage 251s and C12, Telefunken USA 251s and C12 reissues, Sony C800-G and Chandler REDD.

I've been evaluating how these different mics take EQ and compression, and how they sound in the context of music. After several weeks of critical listening, here's what I've found:

Vintage
The vintage 251s and C12s sound 3D. Like the voice is jumping outside of the speakers and all the way behind your ears. No modern mics seem to be able to recreate this effect. I've noticed it on vintage 87 and u47 audio files as well.

Telefunken USA
The Telefunken USA reissues have some of that 3D depth but don't sound as smooth as their vintage counterparts. The very few Brauner VMX and VM1 examples I've heard have that 3D depth and are attractive to me because they have a cleaner sound than the Telefunken USA mics.

Chandler REDD
The REDD has a beautiful EQ curve, very pretty...but unfortunately doesn't have that 3D quality. It's very sensitive, it's pretty, but it doesn't have that front to back depth. It feels like the sound gets squished into a 2D image, like you're looking at a very glossy picture of a person in a magazine vs. being in front of them.

It seems that no other mic manufacturers other than Telefunken USA and Brauner have been able to reproduce that 3D'ness. I suspect it may have to do with how capsules are built.

Has anyone else noticed this?
Exactly my experience. That’s one thing why I think that Telefunken USA are among the very best mics. I own the Tele u47, c12 and Elam251 and can say there’s no need for another high end LCD in my studio.

Nonetheless I would like to demo a burg M1, Sony c800 and REDD one time. Just to remind me that I already have what I want and like
Old 21st May 2019
  #7
Lives for gear
 

The VMX isn’t the typical plug n play microphone.

It’s incredibly sensitive and colored, and while it produces a really fantastic sound for (many-not
All) voices, It wouldn’t be my first choice to use it as a close mic for the acoustic guitar. Especially in a non treated room.

Getting it close to the guitar will be boomy and lacking definition. Last time I used it as an overhead mic, about 1,5 above of the player.
Old 22nd May 2019
  #8
Lives for gear
 
SteelyDani's Avatar
Quote:
Originally Posted by planck View Post
It’s incredibly sensitive and colored, and while it produces a really fantastic sound for (many-not
All) voices, It wouldn’t be my first choice to use it as a close mic for the acoustic guitar. Especially in a non treated room.

Getting it close to the guitar will be boomy and lacking definition. Last time I used it as an overhead mic, about 1,5 above of the player.
As a long VMX user I must confirm that being this mic extremely sensitive and detailed, a treated room is advisable. I wouldn’t consider this behavior as a handicap, but just the opposite. In fact, is a great characteristic of this Brauner.

Concerning its boominess when recording with the mic close to a guitar, I’d say that the problem wouldn’t be the mic but the recording technique. Almost every large diaphragm mic I know would show the same problem with closed mic placement and even small diaphragm mics will be boomy at a short distance. I use to record guitars with a couple of Sennheiser MKH 8040 or Neumann KM 184 or Beyerdinamic MC 930, but I place them at about 4 feet away, just to avoid boominess. Needless to say, that my room is well treated and rather dry.

Summarizing, the Brauner VMX is a great mic. For recording vocals, I use it more often than the M149 or the U87. Its only limitation would be some vocalist with harsh voices.
Old 23rd May 2019
  #9
Lives for gear
 
syra's Avatar
I have all those mics. VMA, C800G and a pair of vintage 251s.

As far as modern microphones go, it’s hard to beat the Brauner in that 3Dness you mentioned. It rules on voice for that super crystal bigger-than-life sound. The VMA in VMX mode also has my favorite low end of any of my mics. Works amazing in front of a bass cab and the bass port of a Leslie too.

Is it better than a C800G? No, it’s different. Sony focuses more in the midrange whereas the Brauner is a little more smiley face curve. I find the Sony a bit more touchy with mic pres. Actually I strictly use it with an un-modded V76M since any other preamp came make it sound a bit harsh. But that V76M combo is to die for. Almost every person who records through that chain comments to how incredible it sounds.

That brings us to the 251s... they sound different than modern mics. There is something magical smokey about them that nothing else can touch.
Old 4 weeks ago
  #10
Gear Nut
 

Quote:
Originally Posted by syra View Post
I have all those mics. VMA, C800G and a pair of vintage 251s.

As far as modern microphones go, it’s hard to beat the Brauner in that 3Dness you mentioned. It rules on voice for that super crystal bigger-than-life sound. The VMA in VMX mode also has my favorite low end of any of my mics. Works amazing in front of a bass cab and the bass port of a Leslie too.
.
A this point, I'm leaning towards Brauner. I just can't decide if the VM1 or VMX is better for my voice. After finding a couple of vocal audio examples of the VM1 vs. VMX on gearslutz, I hear differences, but the clips are full of room sound and noises, so it's hard to judge. My preamp is a Great River ME-1NV which should be a nice match because it'll round off the top end of the Brauners; and I'll use an attenuator to avoid overloading the input.

My local dealer doesn't have Brauner mics available to demo, but I've asked them to order a VMX to try out.

Syra, do you have examples of the VMX on vocals? Your Gearslutz posts seem to indicate that you prefer it on vocals to the VM1 side of your mic. Would you say the VMX is as "3D" as the VM1?
Old 4 weeks ago
  #11
Gear Nut
 

Quote:
Originally Posted by SteelyDani View Post
As a long VMX user I must confirm that being this mic extremely sensitive and detailed, a treated room is advisable. I wouldn’t consider this behavior as a handicap, but just the opposite. In fact, is a great characteristic of this Brauner.

Concerning its boominess when recording with the mic close to a guitar, I’d say that the problem wouldn’t be the mic but the recording technique. Almost every large diaphragm mic I know would show the same problem with closed mic placement and even small diaphragm mics will be boomy at a short distance. I use to record guitars with a couple of Sennheiser MKH 8040 or Neumann KM 184 or Beyerdinamic MC 930, but I place them at about 4 feet away, just to avoid boominess. Needless to say, that my room is well treated and rather dry.

Summarizing, the Brauner VMX is a great mic. For recording vocals, I use it more often than the M149 or the U87. Its only limitation would be some vocalist with harsh voices.
I have a relatively well treated room but am curious to see what the Brauner unveils. Do you have audio examples of the VMX on vocals or acoustic guitars? What preamp works best with your VMX?
Old 4 weeks ago
  #12
Lives for gear
 
syra's Avatar
Quote:
Originally Posted by dantheman360 View Post
Syra, do you have examples of the VMX on vocals? Your Gearslutz posts seem to indicate that you prefer it on vocals to the VM1 side of your mic. Would you say the VMX is as "3D" as the VM1?
I do have some high end unprocessed examples but I’d have to look for them. Regarding VM1 vs VMX, I do prefer the VMX side on vocals. From what I’ve been told, VMX is Dirk’s attempt to emulate what Klaus did to the KHE. And I’ve compared the two and can tell you he got very close. Compared to stock VM1, VMX has richer mids and exaggerated low end which sounds fantastic on vocals. Overall it’s less clean compared to the VM1.
Old 4 weeks ago
  #13
Lives for gear
 

I had the Brauner VMA(sold to Syra) and now have 2 Telefunken 251E USA. For me if I could only have one, I prefer the Tele 251E USA reissue, more of a vintage vibe, but cuts through the mix with just the right amount of brightness. Beats all my other mics for vocals most of the time(vintage U67, M149, Wunder CM7 suprema). I would have loved to keep the Brauner VMA but wanted a pair of the 251E's to use as stereo drum overheads and a general purpose stereo mic set. The VMA is more detailed, scooped, and also more clinical.
Old 4 weeks ago
  #14
Lives for gear
 
SteelyDani's Avatar
Quote:
Originally Posted by dantheman360 View Post
I have a relatively well treated room but am curious to see what the Brauner unveils. Do you have audio examples of the VMX on vocals or acoustic guitars? What preamp works best with your VMX?
You can find a VMX vocal recording here:

http://www.bcstudiorecording.com/albums/1973-2/.

The title of the song nº7 is Darling Louise. Main and backing vocals were recorded with the VMX. The pre was a Great River MP-500NV. You’ll see that the female vocal timbre is a bit thin.

On the same page it could be interesting for comparing to listen to another song by the same female singer, but with a M149 + Focusrite 7 combo. The song title nº12 is Una Carta Al Porvenir.

By the way, due to a change of address (and city) I must drastically downsize my studio and I’m going to sell a lot of hardware and mics. Between these mics I’ll sell my VMX Lite (the cardioid + omni version) with Vovox-Tubelink-Cable and BMS1 Suspension. The mic is in mint condition and very hardly used only in some vocal recordings.
Old 4 weeks ago
  #15
Lives for gear
 
MIKEHARRIS's Avatar
Best bang for buck may be VM-1 Pure Cardiod..into a John Hardy with a CL-1B is magic too.
Old 4 weeks ago
  #16
Gear Head
 

Proud C800 owner here. I have to say I really love this mic. It is and has been a very popular mic for pop/rnb/rap and a lot of us are using it for the current vocal sound right now. But like most other mics.. sometimes it just doesn’t work and I reach for my vintage U87 or something else and I typically get what I’m looking for. I will say this about the Sony though, the high end is very hifi sounding and I don’t think many other mics capture this type of brightness. There is nothing like it when it works, but when it doesn’t... it typically happens in this end of the spectrum in my view

I heard through the whispers that the Sony is going to be discontinued, from a reputable source that I would trust. I had zero buyers remorse when I purchased it by the way.. all smiles the first time a vocal passed through it!

Me personally, and this is subjective, I wouldn’t spend the money on the American Telefunken. They stopped using the nos tubes and from a conversation I had with Klaus a while back regarding this particular mic, mentioned that it is different from the original (he also mentioned the Sony is too bright for his taste btw).

I’ve heard stellar things about the redd as of late. To the point where I will demo one soon and if I’m impressed will add to my locker.
Old 4 weeks ago
  #17
Gear Nut
 

Quote:
Originally Posted by nephew312 View Post
I wouldn’t spend the money on the American Telefunken. They stopped using the nos tubes and from a conversation I had with Klaus a while back regarding this particular mic, mentioned that it is different from the original.
When did Telefunken USA stop using NOS tubes, and what impact does this have on the way the 251e sounds?
Old 4 weeks ago
  #18
Just a thought but you could get a Bock 251, an AA CM800T and a cheaper Brauner - (Valvet maybe) all for the same price as one mic and have all 3 flavours.

Or blow it all on a REDD.
Old 4 weeks ago
  #19
Gear Addict
 
Suspects's Avatar
 

To the OP: If you can't decide between the Brauner VMX or the VM-1, get the Brauner VMA - it's both mics in one. The -10 db pad switch on the Brauner power supply has been converted to a mode selector switch: in position 1 (up), it's in VMX (Vintage) mode, in position 2 (down) it's in VM-1(Clean) mode. The VMA is rather expensive and built to order (6-8 week lead time) but in essence you get two mics in one...


Dave/Suspect Studios
Old 4 weeks ago
  #20
Lives for gear
 

Quote:
Originally Posted by dantheman360 View Post
It seems that no other mic manufacturers other than Telefunken USA and Brauner have been able to reproduce that 3D'ness. I suspect it may have to do with how capsules are built.

Has anyone else noticed this?
Unfortunately most boutique manufacturers are too busy building clones and copies instead of try to innovate....how many U47 clones do we really need? I really love the accuracy of Brauner microphones and I'm really pulling for the new microphones from Austrian Audio who are coming out with totally new products.
Old 4 weeks ago
  #21
Gear Maniac
 

Quote:
Originally Posted by Samc View Post
Unfortunately most boutique manufacturers are too busy building clones and copies instead of try to innovate....how many U47 clones do we really need? I really love the accuracy of Brauner microphones and I'm really pulling for the new microphones from Austrian Audio who are coming out with totally new products.
Unfortunately, the idea of cloning or tributing by name are what sell. It’s a sad reality that I was talking with a boutique manufacturer just last night. First got into it with his own designs and naming system. No one cared... That’s cool and all, but can you make me an X clone? Sure I can put said clone name on it, somewhat follow the basic circuit, and it’ll lean towards it, but the parts won’t be the same, so it certainly won’t be a clone. Cool, let’s do it!
Old 4 weeks ago
  #22
Here for the gear
 
Casti's Avatar
https://tidal.com/album/62544146

Recorded with Vmx (trident 4t preamp) on vocals.
Also used for Kd out (far...) Daking preamp.
Old 4 weeks ago
  #23
Gear Nut
 

Dieter Schopf mics vs Brauner VMA

This is the first time you can hear an audio file of a Dieter Schöpf microphone at gearslutz. Many guys from the 1st producer league in Germany use his mics, Sarah Brightman uses one. Look at his website http://www.ds-audioservice.de/14.html under 'users'. You should give it a listen. Song is 'Don't let the sun go down on me'. Many thanks to Markus Sparfeldt for lending us his fantastic voice.

I did the comparison the following way:

Preamp: GML 2020, 35 dB gain, no comp, no EQ
Converters: Black Lion Audio white sparrow
Antelope 10MX clock
Cables: Vovox Sonorus and above
Mics:
Brauner VMA (2018 capsule, Vovox Sonorus cable)
Dieter Schöpf Convert Fet 800
Dieter Schöpf MC251 (Tube, no longer produced. But you can order a Convert Tube with the 251 head, so it should be similar to that)
Popfilter: Pauly for Schöpf mics, Brauner popfilter for VMA

Maybe I screwed this here with choosing different popfilters. Dirk Brauner says, that he really likes his own popfilter and the sound difference to the Pauly is negligible. I think it's not. But this is still good to demonstrate the extreme upfront and clear image of the Schöpf CF800. It got a fantastic review in the actual issue of a big german studio mag. I like it better than the MC251 with the tube. It has a 'hot' switch at the back for giving the amp more drive leading to a hotter sound. It's switched off in this case.
Attached Files

VMA (VM1 mode).wav (10.87 MB, 687 views)

Schopf Convert Fet 800.wav (10.87 MB, 696 views)

Schopf MC251.wav (8.66 MB, 636 views)

VMA (VMX mode).wav (10.87 MB, 690 views)


Last edited by Starstreet; 4 weeks ago at 11:33 PM..
Old 4 weeks ago
  #24
Quote:
Originally Posted by Starstreet View Post
This is the first time you can hear an audio file of a Dieter Schöpf microphone at gearslutz. Many guys from the 1st producer league in Germany use his mics, Sarah Brightman uses one. Look at his website http://www.ds-audioservice.de/14.html under 'users'. You should give it a listen. Song is 'Don't let the sun go down on me'. Many thanks to Markus Sparfeldt for lending us his fantastic voice.

I did the comparison the following way:

Preamp: GML 2020, 35 dB gain, no comp, no EQ
Converters: Black Lion Audio white sparrow
Antelope 10MX clock
Cables: Vovox Sonorus and above
Mics:
Brauner VMA (2018 capsule, Vovox Sonorus cable)
Dieter Schöpf Convert Fet 800
Dieter Schöpf MC251 (Tube, no longer produced. But you can order a Convert Tube with the 251 head, so it should be similar to that)
Popfilter: Pauly for Schöpf mics, Brauner popfilter for VMA

Maybe I screwed this here with choosing different popfilters. Dirk Brauner says, that he really likes his own popfilter and the sound difference to the Pauly is negligible. I think it's not. But this is still good to demonstrate the extreme upfront and clear image of the Schöpf CF800. It got a fantastic review in the actual issue of a big german studio mag. I like it better than the MC251 with the tube. It has a 'hot' switch at the back for giving the amp more drive leading to a hotter sound. It's switched off in this case.
Thanks for those, there was a DS mic on Reverb for ages. Interchangeable heads a bit like a Korby. I'm glad I didn't bite. I got the Bock 251's and couldn't be happier.(don't let the look put you off, they sound amazing) Hearing the Brauner, I'd like one but I'm not sure I can justify it. I might buy a VMX but....
With a pair of REDD, C800G, a C24, an SM69 tube, 67's, Horch's and a cabinet full of other high end mics, I feel covered.
As much as I want to keep buying mics as I've run out of rack space I've really no need. I really like the little Brauner Phantera's I have, those with a tube pre sound pretty similar.

Another strong recommendation would be an all original C24. They sound amazing on voice and guitar. Just make sure the capsules haven't been tampered with.
Old 4 weeks ago
  #25
Lives for gear
 
syra's Avatar
Quote:
Originally Posted by Paul_G View Post
I feel covered
Spoken like a true slut!
Old 4 weeks ago
  #26
Lives for gear
I think the TF M 251E sounds absolutely stunning!

Imho the clarity and presence is close to perfection, plus the extended bandwidth is incredible.

Mind you with a list price of £9K .... it should be class leading.

It would make the perfect foil to my Wunder CM7.
Old 4 weeks ago
  #27
Lives for gear
 
toledo3's Avatar
 

With some of the mics you are mentioning, I would consider two, maybe three other routes:

Bock has a custom shop and can and will do things outside of whatever they do in normal production. I have a custom mic out of his shop that shares one of the Haun made CK12 capsules he used in the 251, and it is almost startling in its 3D nature and balance from the high frequency down to low. After a round of further refinement, which Bock was game for much to his credit, the self noise and extreme subs got to a level that is actually quite unparalleled. I really like the work Bock is doing with his PSUs. If you wanted him to make a C12, or put a vintage CK12 in his 251 or something else, etc, I think he’d likely be game and do a fantastic job. I know a vintage CK12 was an option we were discussing with the mic I got from him, but ultimately I quite liked the Haun.

On another note, Cathedral Guitars and Tab Funkenwerk are making an “OA 1” microphone, which I believe was based on Oliver’s CS1 circuit, and which Klaus Heyne supplies original CK12 capsules for. While I have not tested this mic, I have a mic out of the Tab Funkenwerk shop/Cathedral Guitars collaboration from when Oliver was still alive, which was a straight up C12 circuit clone, with the Klaus supplied CK12. It is really a stunning mic, in a unique way from the mic I mention above. There is a little different emphasis spot in the low mids, a less honest but more angelic high end. I would expect the tonal signature of this new run of mics to be different but still extremely high quality.

In any event, Tab Funkenwerk is still doing very good work (have had good service there recently), and if you’re looking for a mic that is CK12 based you could do a lot worse than a mic built by Tab with an original CK12 supplied by Klaus.

I actually think that the Haun capsules have a little something to them that is unique from a vintage CK12 but highly desirable in its own right. But to try to put the difference in perspective...I bet you could have two mics of the same circuit, one with the Haun, one with a vintage CK12, do a stereo mic setup, and have it sound fine.

I have had opportunity to use both of the mics I am mentioning above next to vintage specimens and newer clones, and have had absolutely no desire to move sideways. Quite the opposite!

If you really have a hankering for visual aesthetics, I would also consider evaluating the Upton mics. I have a good friend (and old band mate) who wound transformers at Vintech for years, and from my observations, the owner Dallas is a standup guy who runs things in a very competent manner. I haven’t heard it yet but I probably would try to audition it if spending money for that type of mic, on this day...but it wouldn’t be that much of a reach for me to drive to where I can hear one. Not sure if that’s an option for you.
Old 4 weeks ago
  #28
Gear Head
 

Quote:
Originally Posted by dantheman360 View Post
When did Telefunken USA stop using NOS tubes, and what impact does this have on the way the 251e sounds?
https://www.telefunken-elektroakusti...ones/ela-m-251

Also, I think the soldering points may be different then the original tfunk tube.. not 100% sure on this tho
Old 4 weeks ago
  #29
Gear Nut
 

I've made a decision

Thank you for the audio files comparing the VMX and VM1.
There have been good suggestions in this thread, and I ended up ordering a Telefunken Ela M 251T!

It's a substantial investment for me as a singer/songwriter who doesn't own a commercial studio, but it's a lifetime investment. I will be using it to record vocals and acoustic guitar. Some people save up for a down payment on a house or car; I bought a microphone.

My dealer lent me the 251E a couple of days ago. It has better highs than my old 250E which I sold a few years ago (I massively regret selling it!!).

Telefunken provided me with audio files comparing the 251E and T on vocals and acoustic guitar, and although the differences are slight, I prefer the sound of the T. It takes EQ and compression wonderfully. The airiness and clarity of the T will get me closer to the Brauner/Sony C800G sound, while retaining the saturation, warmth and magic of Ela M microphones.

Unfortunately no Brauner mics were available for me to test here in Canada, and as great as the audio files of the VMX sound, I was uncomfortable with blindly spending multiple thousands of dollars on a mic that I can't try before buying.

I can't wait to receive my mic and record a song with it!
Old 3 weeks ago
  #30
Gear Nut
 

Telefunken 251 is also very nice. I had the Soundelux 251. But with a Brauner VMA you can go in every direction. In this example I've chosen a neutral sounding Massenburg GML Preamp. Pair it with a Chandler Redd.47 and your Brauner mic will get balls and loose some of the extreme detail in the upper frequency range.
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