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Sony 800G microphone Vs U47/ U67 or 87? Condenser Microphones
Old 6th November 2007
  #1
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Sony 800G microphone Vs U47/ U67 or 87?

Hi All Gearslutz people

Does the Sony 800G sound like a Neumann U47/ U67 or 87?
Does anyone know what capsule and tube the 800G uses?

Cheers

Please know rude comments
Old 6th November 2007
  #2
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Quote:
Originally Posted by JOHN View Post
Hi All Gearslutz people

Does the Sony 800G sound like a Neumann U47/ U67 or 87?
Does anyone know what capsule and tube the 800G uses?

Cheers

Please know rude comments
The 800G sound nothing like a U47 or U67. The 800G is BRIGHT as SH****t. In my opinion, one of the worst vocal mics around.

Steve
Old 6th November 2007
  #3
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Quote:
Originally Posted by Steve G View Post
The 800G sound nothing like a U47 or U67. The 800G is BRIGHT as SH****t. In my opinion, one of the worst vocal mics around.

Steve
But it cost $8000
So what do you mean? please give me more info

Cheers mate
Old 6th November 2007
  #4
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I have no idea why they cost so much. As I said they are very bright. To my ears they sound like someone turned the EQ up all the way at 10K. Your money is much better spent on a good U67, they are warm and clear with a very pleasing top.

Steve
Old 6th November 2007
  #5
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vernier's Avatar
Sony 800G are very good ..I'd test it against a Brauner or M149.
Old 6th November 2007
  #6
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As always, depends on the source. Recently we had a rather well known vocalist in, and the producer rented a c800 and an M49. The c800 was head and shoulders above the M49 on this particular vocalist. Later in the week we had the same producer with a different artist, and the M49 won.

#1 rule of audio?

It depends.
Old 6th November 2007
  #7
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Thread Starter
Quote:
Originally Posted by vernier View Post
Sony 800G are very good ..I'd test it against a Brauner or M149.
What did you think? how did the 800g compare
Old 6th November 2007
  #8
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If you are doing pop music... there is no more recognized mic (both visually and sonically) than the C800G.

The 47 and 67 are great mics.
But if you want a vocal to "pop", put a C800G into a Neve 1073 to a Tube Tech to Pro Tools HD.
Old 6th November 2007
  #9
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vernier's Avatar
Quote:
What did you think? how did the 800g compare
Its more like - how do the others stack up to the 800G ..you can't go wrong with it. But I like ancient mics. For new, I probably like the VM1 best.
Old 6th November 2007
  #10
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Quote:
Originally Posted by lowfreq33 View Post
. . . .

#1 rule of audio?

It depends.

Old 6th November 2007
  #11
Yes it is very bright but you can always subtract the top.
It's the best mic I have ever used for Rap vocals, though for soulful singing I too would rather use an old valve mic like a U47 or a C12. As mentioned it's "horses for courses".
PG
.
Old 6th November 2007
  #12
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But if you want a vocal to "pop", go C800G into a Neve 1073 to a Tube Tech to Pro Tools HD.[/QUOTE]

Correct...or API 512
Old 6th November 2007
  #13
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i wouldent compare a c800g too a brauner vma or u47

this are all differend cats

i owned a c800g a really nice mic with a lot compression in


also i owned a u67 with special modivication

too have the same compression level as the c800g with the color of a u67 !


at least i took the brauner vma how i only would trade for a original u47 tube mic

cuz this are the only one how will stay in price

timeless !


but in the meantime iam luky what the vma do

this is not a mic alone you have 2 mices in one

how works like a swiss knife

it takes a while too love this one cuz its really subtile ! and if i need a exiter i go for a inflator and some tape.


thanks patrick
Old 6th November 2007
  #14
Mgr
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Quote:
Originally Posted by Tony Shepperd View Post
If you are doing pop music, there is no more recognized mic, both visually and sonically than the C800G.

The 47 and 67 are great mics.
But if you want a vocal to "pop", go C800G into a Neve 1073 to a Tube Tech to Pro Tools HD.
Dont want to hijack but...

What kind of Tube Tech ? CL1 A/B ?

I'm interested in a Vac Rac TSL-3. How does that compare to the Tube-Tech products ?

Any help appreciated.

Thx
Old 6th November 2007
  #15
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Tony Shepperd's Avatar
CL1B... I started using the CL1A back in 1991.
When the CL1B came out, it was a lot better (more consistent).
The back of the 1A had the tubes exposed, not good for traveling from studio to studio.
Old 6th November 2007
  #16
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The sony C800 is great for vocals that cut, think Britney Spears, Mariah Carey, Faith Hill...a modern pop sound....It's a regular player on all those kind of records. Kinda hyped in the high end in a very expensive modern sounding way. I've never used it for rock but it might be cool with the right singer.

U47 and u67 are more midrange or sometimes even dark sounding depending on the condition of the mic. They can sound good on pop too especially on a thinner sounding singer, but I find they really shine for rock and acoustic music. The 67 is my first bet many times if I don't know the vocalist.

U87 is a good all around player, I've used it for rock, pop, and folk, and it's seems to work everytime, similar to the 67 but maybe a bit more midrange-y and is much less expensive than the others (much more reliable too...no funky tubes and much less old)... it doesn't have the tube thing, but for some singers the clarity and headroom is perfect.

-Brian
Old 6th November 2007
  #17
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they sound nothing alike.

and i agree, one of, if not the worst high end vocal mic out there. if your looking for a warm mic with charter, like most people are, stay away. ive only used one twice, and i would not use them on any thing but pop/dance style music, and evan then, not my first choice.

so to sum it up, im not a fan.

Last edited by squeeks555; 6th November 2007 at 07:37 PM.. Reason: spelling
Old 6th November 2007
  #18
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Quote:
Originally Posted by JOHN View Post
But it cost $8000
So what do you mean? please give me more info

Cheers mate
seriously, i agree...unless your tracking mariah....and even then....the manley ref mics(either) will give you everything the c800g can, and more with out the ultra-plastic-ness of the sony.

honestly im convinced that sony cant do anything right when it comes to audio...

those old green sony mics from the 60's are cool though, and they had made some recievers in the late 80's/early 90's that are pretty good...but since than..? and their consumer grade stuff? yuck.

that said i do use 7506's pretty religiously, a habit i need to break.
Old 6th November 2007
  #19
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Skrinsen's Avatar
 

Does anyone know how the Korby C800G head compares to the Sony?
Old 7th November 2007
  #20
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Quote:
Originally Posted by neilio View Post
seriously, i agree...unless your tracking mariah....and even then....the manley ref mics(either) will give you everything the c800g can, and more with out the ultra-plastic-ness of the sony.
Agree w/Manley Ref!!!!

The C800g is a fine mic for Pop, would not slam it, and it has that cool black fin.
Old 7th November 2007
  #21
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The C800g doesn't sound anything like a 67, 47 or 87.

Probably wrong for 90% of the sound sources in this world and amazing on the other 10%.
Old 12th February 2010
  #22
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take away the "collectible/vintage" factor or which is "more popular in modern music".. if you could only choose ONE mic for yourself, solely based on SOUND: the U67 or C800g

which would you pick (and why)? and maybe explain what type of music you record to help us understand...
Old 12th February 2010
  #23
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Squawk's Avatar
Quote:
Originally Posted by ssprod19 View Post
take away the "collectible/vintage" factor or which is "more popular in modern music".. if you could only choose ONE mic for yourself, solely based on SOUND: the U67 or C800g

which would you pick (and why)? and maybe explain what type of music you record to help us understand...
No offence, but it's a three year old thread you're diggin' up!.. JOHN has long since moved on to other fixations and obsessions
Old 12th February 2010
  #24
Baz
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Quote:
Originally Posted by Squawk View Post
.. JOHN has long since moved on to other fixations and obsessions

Haha! So true. JOHNO was always good for some laughs thumbsup
Old 12th February 2010
  #25
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Quote:
Originally Posted by Squawk View Post
No offence, but it's a three year old thread you're diggin' up!.. JOHN has long since moved on to other fixations and obsessions
well maybe I should've rephrased the question... I was asking more for my own curiousity. People are always saying to use the "search" instead of starting a new thread, so that's what I did. My question is directed to all the slutz who have had experience with both U67 and C800G.
Old 12th February 2010
  #26
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inthere's Avatar
 

Luther Vandross and Ray Bardani left an AKG C414 for the Sony C800g..........I actually prefer the Sony C800 to the 800g...........less noise and just more presence.
Old 12th February 2010
  #27
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it's not just for modern top 40 artists. david gilmour, who has an amazing collection of vintage mics, used the sony as his go to mic for his on an island solo record.
Recording David Gilmour's On An Island
Old 12th February 2010
  #28
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Quote:
Originally Posted by ssprod19 View Post
take away the "collectible/vintage" factor or which is "more popular in modern music".. if you could only choose ONE mic for yourself, solely based on SOUND: the U67 or C800g

which would you pick (and why)? and maybe explain what type of music you record to help us understand...
I believe engineer Gary Paczosa used a C800G to record the lead vocals on the Dixie Chicks' Home record.

I've also seen photos of Alison Krauss with the C800(G?). I think Paczosa recorded and mixed Krauss' record, So Long So Wrong using one of the C800s on vocals. (Any engineer interested in modern acoustic/Bluegrass recording and mixing should own So Long So Wrong.)

Dolly Parton also specified the C800G for her vocals on Halos & Horns. Paczosa apparently likes the C800G on pizzicato upright bass.

Excerpt from Mix magazine, Nov 2002:
Quote:
THE DIXIE CHICKS COME HOME TO BLUEGRASS

When he engineers, Paczosa says, “I can't do an acoustic record without my Neumann KM54s or the Neumann 582s. My chain is almost always a Mastering Lab Pre, GML EQ and GML compressor. I love the Sony C800G on upright bass. I really don't know what the ‘Nashville method’ of making records is. Whether I am working in Ireland, Austin, L.A. or Nashville, it is pretty much all the same: cut great songs and catch good tone, then mix until everyone is happy.
::snip::
The primary lead vocal mic on the sessions was a Sony C800G; backups were recorded using Neumann M269s.
Old 12th February 2010
  #29
Gear Nut
 

Amateurish

Quote:
Originally Posted by JOHN View Post
Does the Sony 800G sound like a Neumann U47/ U67 or 87?
Of course not BUT they are all great microphones.

Quote:
Originally Posted by Tony Shepperd View Post
If you are doing pop music, there is no more recognized mic, both visually and sonically than the C800G.

The 47 and 67 are great mics.
But if you want a vocal to "pop", go C800G into a Neve 1073 to a Tube Tech to Pro Tools HD.
Tony, your advice is not... let's say "the best one". Every professional does know that you have to choose the right mic for the right voice. To say your suggested chain is pop is narrow-minded. It could fit one singer but not the other. It all depends.

Quote:
Originally Posted by chrislago View Post
Tough call, since I know that Kurt used a U67 on Nevermind, while other artists I like such as Akon, T-Pain, Daughtry, Flyleaf, and Trent Reznor use or have used the c800g on their records.
And? I never would go for a U67 because Kurt used it on his vocals or artist X used a 800 on his. If a 800G is great on David Gilmour it doesn't mean anything to a different voice. Also they could love the 800G on David's voice this year and think differently next year. Maybe he uses a U67 or a 251 next year which he used many times. He also could have used a 800G because his favorite mic wasn't available. So many variables.

Quote:
Originally Posted by RudyR View Post
THE DIXIE CHICKS COME HOME TO BLUEGRASS

When he engineers, Paczosa says, “I can't do an acoustic record without my Neumann KM54s or the Neumann 582s. My chain is almost always a Mastering Lab Pre, GML EQ and GML compressor. I love the Sony C800G on upright bass. I really don't know what the ‘Nashville method’ of making records is. Whether I am working in Ireland, Austin, L.A. or Nashville, it is pretty much all the same: cut great songs and catch good tone, then mix until everyone is happy.
::snip::
The primary lead vocal mic on the sessions was a Sony C800G; backups were recorded using Neumann M269s.

So what?

Sunset Sound website:

Dixie Chicks won all 5 Grammy awards for their last record "Taking the Long Way".

"Vocals were overdubbed at The Village Recorder in West L.A. with Sunset Sound supplying its
U-67 microphone for Natalie Maines' lead vocal. Mixing took place at Blackbird Studios in Nashville with engineer Richard Dodd at the conxole."



- I think it's pretty useless and amateurish to turn every microphone thread into a "this or that mic is better" thread. Take the mics you have and choose the most sweet sounding mic for your current talent.
Old 12th February 2010
  #30
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Quote:
Originally Posted by RudyR View Post
I believe engineer Gary Paczosa used a C800G to record the lead vocals on the Dixie Chicks' Home record.

I've also seen photos of Alison Krauss with the C800(G?). I think Paczosa recorded and mixed Krauss' record, So Long So Wrong using one of the C800s on vocals. (Any engineer interested in modern acoustic/Bluegrass recording and mixing should own [I]So Long So Wrong.)
Interesting. As much as I like the Dixie Chicks, I could never stand their vocal sound that I find to be stringent in the extreme. To me it was to the point that I actually had to let go of their last two albums because the hi-end would kill me. I wonder if that is the C800 sound and if yes it wouldn't be a mic that I would ever consider.

I'm a huge Alison Krauss fan but generally find her recordings on the bright/too clean side. Though I'm not familiar with 'So long, so wrong' I wonder if the same mic was used on 'Lonely runs both ways'?

I much prefer Alison's vocal sound on 'Rasing Sand' but then again the production approach there is probably the polar opposite of the Union Station recordings.
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