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Two-mic set-up for guitar (LDC+SDC), eventually using the LDC for vocals.
Old 12th November 2009
  #1
Two-mic (or one?) set-up for guitar (LDC+SDC), eventually using the LDC for vocals...

Hello everyone.
I kind of changed my mind, thought it would be a better idea to get two lower-end microphones, since it's more versatile and I don't have a good enough pre-amp to get a semi-professional mic.

So, I had this in mind:
I could do a two-mic set-up on my guitar, as well as use an SDC on the guitar and the LDC on my vocals.
Suggestions for mics:
LDC: Shure SM27, AT-4040, (leaning towards the 27).
SDC: Shure KSM109 or KSM37, Oktava MK-012 (leaning a bit towards the 137).
The 4040 and 27 seem pretty similar, they have about the same peaks around 5k-10k and a bit higher, both cardioid, both around the same price, however the SM27 has SLIGHTLY less noise, is SLIGHTLY more sensitive and is SLIGHTLY cheaper.
I think it would match up well with the 137.
Also checked the SM137, but it seems to be more similar to the 109 than the KSM137 (might have overlooked some things).

I'm not really looking for suggestions actually.
Has anyone have one or two of these mics?
If so, how is your experience with it?
And if possible, could I hear some demos?

Thanks in advance.
Old 13th November 2009
  #2
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KeithMoonwannabe's Avatar
 

less is more in all honesty trying to swing a KSM44 or an AT4050 would be wiser in my opinion than two cheaper mics. A nicer mic is going to sound nicer regardless of the preamp you use. And it will only be better when you get a better preamp.

there are more important things to consider when purchasing a mic than just a preamp. your room, your ability to perform well, etc.

I guess my vote would be for the KSM137 and I'd suggest trying to find a used KSM32 over a new KSM27.
Old 13th November 2009
  #3
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Aaron Miller's Avatar
In know you're not looking for advice but I saw your post and wanted to chime in because I think you may be starting your mic search with some assumptions that (in my opinion) may not be accurate. Consider the following:

1) Does your style call for two mics or would one be sufficient? That's the question. If it requires two, so be it. However, unless two are necessary, I would always choose a single higher quality mic over two lower quality ones.

2) A better mic is a better mic regardless of preamp. Don't rule out better mics because you don't have better preamps to match.

3) The specs don't mean much, especially if the differences are slight. You're on the right track looking for some samples. If you could use the mics yourself it would be even better.

4) There are no rules about using SDCs and LDCs on certain sources. It's whatever works. I have heard excellent vocal recordings done with an SM-81 (usually not that good for vocals I'll admit), which is also nice on guitar. If the room is not that great or if you're going to record both vocals and guitar at the same time and want some isolation on the vocal track, don't rule out an SM-58 or SM-7B ot RE-20.

5) On the one hand, you may simply need a couple mics to get the job done quickly. If that's the case, do what you gotta do. If you plan on using these mics in the future, consider whether you're going to want better ones later on. Maybe you're familiar with the saying "Buy cheap, buy twice" or an equivalent.
Old 13th November 2009
  #4
Looks like the KSM32 has just a slightly flatter response.
It also seems like the 32 uses less power.
The 32 is also lighter.
But the 27 has a better S/N ratio.
Sensitivity levels are identical.
Is there anyone that has both?

-----

Quote:
Originally Posted by Aaron Miller View Post
In know you're not looking for advice but I saw your post and wanted to chime in because I think you may be starting your mic search with some assumptions that (in my opinion) may not be accurate. Consider the following:

1) Does your style call for two mics or would one be sufficient? That's the question. If it requires two, so be it. However, unless two are necessary, I would always choose a single higher quality mic over two lower quality ones.
My style doesn't necessarily ask for two mics, but it sure is convenient as I can use them in various ways.
I'd say the 137 is higher quality than the 27, but I might be wrong here (just a wiiild guess).

Quote:
Originally Posted by Aaron Miller View Post
2) A better mic is a better mic regardless of preamp. Don't rule out better mics because you don't have better preamps to match.
I got the advice to not go too berzerk with this, that's why I changed my mind, to not get an AT4050.
This would shurely (ha ha) be a bit weird, since I'd say the mic is semi-professional if not professional, and my home set-up is anything but.

Quote:
Originally Posted by Aaron Miller View Post
3) The specs don't mean much, especially if the differences are slight. You're on the right track looking for some samples. If you could use the mics yourself it would be even better.
I haven't found a place where I can go and get some mics to try out.
Specs just give me a (terribly) basic idea.

Quote:
Originally Posted by Aaron Miller View Post
4) There are no rules about using SDCs and LDCs on certain sources. It's whatever works. I have heard excellent vocal recordings done with an SM-81 (usually not that good for vocals I'll admit), which is also nice on guitar. If the room is not that great or if you're going to record both vocals and guitar at the same time and want some isolation on the vocal track, don't rule out an SM-58 or SM-7B ot RE-20.
SM58 would be fine, SM7B maybe a bit on the expensive side at the moment (if I'm gonna get two mics, at least).
I do not know about the RE-20 though.

Quote:
Originally Posted by Aaron Miller View Post
5) On the one hand, you may simply need a couple mics to get the job done quickly. If that's the case, do what you gotta do. If you plan on using these mics in the future, consider whether you're going to want better ones later on. Maybe you're familiar with the saying "Buy cheap, buy twice" or an equivalent.
I know the saying, and shure (-_-), that's true. But I mean, I wouldn't call an SM27 or a KSM137 cheap.
What do I call cheap? like $100-$150 ish.
I can't see what lies in the future. I just want to get myself started on recording some vocals+guitar.
There will be cases where I'd want two mics (one at the fretboard, one at the body of the guitar), if I'm doing some fingerstyle'ish stuff (I'm not so great at it yet, willing to to get a bit deeper into it though). Playing guitar while singing feels different than when I'd say, record one after another.

Thanks for your advice!

Last edited by Cue Zephyr; 13th November 2009 at 01:43 AM.. Reason: Someone posted before I did.
Old 13th November 2009
  #5
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KeithMoonwannabe's Avatar
 

as was said unless two mics are necessary just buy one good quality piece of gear that you won't see yourself letting go. Don't get so caught up on specs you need to use your ears. If you have to buy blind make sure you buy from a place with a return/exchange policy that's forgiving if you end up getting something you hate.

And relatively speaking every mic you are looking at is low end. Semi pro mics start at about $800-$1000 street price at popular retailers. This is about the C414, TLM103, Mojave MA200 type of price point if you are interested in LDC mics.

Also the mics you are looking at the AT's and Shure's are very common on the used market. If you find one in decent shape that works you could save yourself some serious cash (if money is an issue) or you could just buy a much better mic in the first place. If your budget is stretched to spend $500 look used spend $400-$500 used and you are in another league sonically speaking.

I know you don't really want advice but I'm just giving you my two cents. More isn't always better. Some of the best acoustic guitar and vocal recordings I've ever made where using a single LDC positioned properly in a decent (not exceptional) sounding room simultaneously doing both sources. Studio Projects CS5, Shure KSM44, CAD M177 and Audio-Technica AT4050 are excellent choices for this type of thing on a low end budget.
Old 13th November 2009
  #6
I'm not holding on that much to specs, it gives me a basic thing to compare.
The second thing of course, is compare the sound.

I can buy blind, from a shop in Germany, which has a return policy.
I can't get something I hate, becase I've never had a microphone before, so I'd be happy with just about anything that works, I just have to make sure that the quality is okay, and buying from a well-known brand as Shure and A-T might help.

Okay, so a C414 and a TLM 103 are semi-professional? So a professional mic would be an U87 or what?
Honestly, I don't think I will be able to do these pieces of equipment justice in a long time.

And I don't like used stuff, I have NO clue whatsoever what to look out for. These pieces are put up for sale for some reason.

I didn't say I didn't want advice, I said I didn't want suggestions, suggestions for mics, that was.

I don't call a KSM44 or AT4050 something for a low-end budget, seriously.
My cousin uses an AT2020 (that's what I call a low-end price), and he's managing pretty well with it.

I also find it a bit unecessary to spend more on a microphone than my guitar's value (I spent just over $1000, local price, price in US is $799).
Old 13th November 2009
  #7
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Old Goat's Avatar
 

I got my AT 4050 on ebay for $250 USD, might have been a bit more, and it does vocals and guitar for me just fine. I add an Oktava M-012 on the guitar if I want more.
Old 14th November 2009
  #8
I don't think I need a 'studio' microphone just yet.
Old 14th November 2009
  #9
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KeithMoonwannabe's Avatar
 

Well I'm just going to tell you right now either you want to invest in gear that you won't need to replace and do it right once. Or you can take on the mentality you have now with not investing in gear and spend more money over the course of time getting what you'd eventually get anyway.

Quite honestly $100 USD for a mic is cheap.....AT2020 isn't a true LDC it wouldn't be my first grab for any voice or acoustic guitar

Quite honestly I don't think you are understanding how everything is going to work. A preamp, a room, a mic, the performance, etc all have to be carefully selected, placed, etc to sound their best. Quite honestly the preamps in my EMU 0404 usb and in my Focusrite Saffire Pro 10 i/o have been adequate for doing semi professional work with decent mics like the AT4050.

Mics like the AT4050 are definitely low end mics. Your definition of low end is probably different than the definition on this forum. If you only want to spend a certain amount of money specify that, especially since you said you wanted to get an AT4050 (which in the states is around $600 new). And buying used isn't that bad. I've sold lots of gear and bought lots of used gear. It all worked fine. Shit happens to people or they just don't care for what they bought. You can't always return gear you end up hating or outgrew. You are looking at a terrible global economy right now businesses are going under which is forcing small studios to liquidate gear, individuals are having a hard time getting by so they sell things that aren't essential to their survival, etc. I've probably bought at least a dozen used mics no once did I have an issue with one.

My point here is you are afraid to spend more than the source cost, which is a valid argument but at the same time. Why would you be afraid to spend the same amount of money on a mic as you would on the gear you use. Vocalists do that shit all the time they want to sound awesome recording or playing out but they won't invest more than say like $100 on a mic (if they'll even buy one) and a guitarist will spend thousands on their rig (you know the half stack of choice, a pedalboard, decent quality guitars) but they'll only spend $100 on a Shure SM57 to mic up that multi thousand dollar rig.

Don't overlook elements in the signal chain.

Honestly if you are a noob to recording in general and you don't have your performance abilities mastered, a decent knowledge, and you don't have an acoustically treated environment (I mean completely untreated) than honestly buying anything at all is going to be a bit of a learning curve and your results will automatically be skewed because you can't hear what's actually going on. Not to mention any imperfections or flaws in both room and performance will be translating into your recordings. In those types of situations yes it's possible to get good results but the results will be so inconsistent because it's all guessing. There is no consistency in your technique, the room isn't accurate, etc.

Honestly I probably wouldn't suggest a LDC mic at all if your room isn't treated for voice work of any kind. I'd be looking at a decent dynamic mic like a Sennheiser e945 (I use this in my apartment for my vocals), Heil PR-35 (the PR-40 and PR-30 are also excellent), Electro-Voice RE-20, and Shure SM7b. All those mics will be beneficial because they will isolate your voice from the environment they also take EQ'ing very well so if the vibe you get isn't it you can't sculpt it accordingly. This will be cheaper than buying even a "low cost" condenser because to get more from a condenser you really have to treat a room and even the DIY route on treating adds up fast. So if you buy a $200 condenser mic you may easily spend that much or more doing treatments so that the imperfections of the recording environment aren't picked up by your mic. Even a preamp such as the one built into your EMU interface will pick up room problems. I own that interface and I've used some very nice pres (Great River, Trident, BLUE Robbie, SSL, Vintech, Focusrite ISA, UA 610, etc) and for the money it's a very good preamp. It has extremely low noise, decent headroom (you can easily run a dynamic mic on it I'd even try a ribbon with it if it's on a louder source), a good dynamic range, etc. It's not a character preamp it's just designed to be clean and quiet (which is basically the concept of every low end preamp). Unless you desire a character pre or really need incredible transparency the pres in your 0404 usb should be more than enough to get you by for a while.

For your acoustic guitar I'd probably suggest just a simple SDC my first grab in a low price point would be an Oktava MK012 however there are other nice mics that don't break the bank a pair of Karma K10 or an AT4041 would also be solid choices.

If you aren't willing to spend around $500-$600 now than just be prepared to spend it whenever you realize you've outgrown the cheap garbage you buy. It's not that those mics can't or don't work it's just eventually you will realize that some of them can limit your recordings. Whether or not you have a great room, great preamps, great engineering skills, etc. If you have the money to spend go ahead and do it right the first time. If you want to be value conscious and you can spend the money (without going broke or whatever crappy scenario it'd put you in financially) it's much wiser to take your time and get what you want the first time around. Because I can almost definitely tell you that if you buy something in the quality range of an AT2020 you will eventually desire something nicer. Eventually you are going to want a higher end mic, being practical that doesn't have to be a vintage AKG C12 or a Sony or whatever. It can be a mic like an AT4050 or a KSM44. But if budget is an issue and you literally can't afford anything better than use whatever will get you by.

Believe me I could definitely hear a difference between my USA Groove Tubes GT66 and AT4050 pair vs my MXL mics like the 990. It's night and day and all those are low end mics. The GT66 was $400 and the AT4050 pair was $500 used (would've been about $1200 new). That was on the same set of pres (my Saffire Pro 10 i/o interface) in the same room (which was actually untreated, parents basement couldn't install any treatment and didn't know better at the time to do even temporary DIY stuff).

BTW you mentioned getting two Shure mics because they'd be similar to each other. I wouldn't get mics because they are similar to each other I'd get mics that flatter the source(s) you are using them for regardless of brand or specs.
Old 14th November 2009
  #10
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kafka's Avatar
Quote:
Originally Posted by Cue Zephyr View Post
Okay, so a C414 and a TLM 103 are semi-professional? So a professional mic would be an U87 or what?
Honestly, I don't think I will be able to do these pieces of equipment justice in a long time.
...
I don't call a KSM44 or AT4050 something for a low-end budget, seriously.
My cousin uses an AT2020 (that's what I call a low-end price), and he's managing pretty well with it.
You'll be fine with any of the mics you mention, as well as the 414. If you're just getting your songs down, you can certainly do it with just one mic, no problem. Any one of them will do the job well, and nobody but you will know the difference. Which mic isn't nearly as important as learning how to use it well. As a matter of fact, I'd recommend starting with only one mic, and then not buying another until you really feel you can't cut it with just the one. You'll get more mileage out of everything if you take that approach. I spent 2 years with an SM57 before I finally got a single EV N/D 408. Some days, it almost doesn't matter what mic is in the stand. I just move it around until it sounds the best it can.

You can go cheaper, or more expensive if it makes you feel better. It's a myth that you can't turn out a decent recording without multiple mics, perpetuated by; a.) amateurs who can't make a decent recording if their lives depended on it, and; b.) professionals who can make a great recording with anything, and have learned how to use all of the tools available to their fullest. But honestly, a single mic will go a long way if you learn how to position it carefully.

Note: If there's a caveat to this, it's when it comes to drums. As a source, it's because they're mostly transient and room sound. If your room doesn't sound good, it's a lot harder to get a good drum sound.
Old 14th November 2009
  #11
Thank you for the insightful replies.
Yes, I am aware of the fact that mic placement is important, and I can see myself having fun with it.

Yes, of course the room adds to the recording, but I am willing to do some DIY stuff before I have even a decent room.

My budget might be able to stretch to $500-$600.

The single mic approach means I'm right back where I started, which actually is a good thing. I got put off by people telling me that my budget would allow two lower end microphones to record guitar and voice individually.

I also ran into a nice microphone in a music store catalogue, it's a Neumann TLM 102, it's cheaper than an AT4050, KSM44 or even a KSM32). Any opinions on that?

The Shure-double was just a random idea (damn me).

I have actually heard a one-mic vocal+guitar in one take recording here on GS, and I liked it.

Another thing, will multi-pattern really be necessary at this point?

I know performance is important, I had recorded myself with a webcam microphone (one take) and people seemed to like it. Since then I had been looking for a decent mic.
It wasn't an original song but that doesn't matter I guess.
Old 14th November 2009
  #12
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kafka's Avatar
Quote:
Originally Posted by Cue Zephyr View Post
Another thing, will multi-pattern really be necessary at this point?
Not really. Unless your room sounds good, you'll be trying to reduce the room sounds, which generally means cardioid. There are good reasons to use a non-cardioid pattern other than picking up the room sounds, such as to reduce proximity effect. But generally, at home, you'll probably end up doing everything close-miced with a cardioid pattern.

I haven't used the Neumann, so I just can't comment on it. Like I said, I don't think the choice of mic is as important as it's made out to be. Just get something that you're not going to doubt. If it takes a Neumann badge to do that, well, hey, we're all human and are impressed with a little bling, right? That's ok. It's not going to suck, right? If you look at it, and feel confident with it, then you're not likely to regret the purchase.
Old 14th November 2009
  #13
I was referring to this:
which mic for vocal and guitar on one track?
It doesn't take a Neumann badge necessarily, an A-T badge or a Shure badge would be just as nice. They aren't gonna suck, because these are some brands that have some reputation, on which I expect they will not produce and sell crap.
I'm not gonna get something from a no-name brand, that's for sure.

As for the bling, you could compare it to my Taylor acoustic guitar.
They have guitars that are like, ten times more expensive and a hundred times better.
Sure, the model I have is built in Mexico, and is a low-end starter model, but it still has the name on the headstock.

Edit: Maybe a KSM32 is a better choice than the TLM 102?
Old 14th November 2009
  #14
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KeithMoonwannabe's Avatar
 

there isn't really a better mics are all different. Like I said before in your other post and in this one. Brand really doesn't matter much the best thing you can honestly do is try out stuff with your voice and your guitar. Pick something you feel is decent quality and that best flatters your voice and guitar.

Honestly I don't know if I'd even buy a Shure the Studio Projects CS5 sounded amazing on acoustic guitar and vocals when I tried it about a month ago at Scam Ash. If you want to go back to the one mic only idea I'd try going with that as it will free up your budget for treating your room better.

A few people on here have said they couldn't tell much difference between a U87 and the CS5. I don't know if I'd go that far myself but I will say I was very impressed for the pricetag it carried and it definitely has some of the Neumann-esque characteristics.
Old 14th November 2009
  #15
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I always record acoustic guitar with two mics. I put one around the end of the fret board angled toward the picking fingers and another between the bridge and end of the body. I find that the mic used for the picking is almost always a small-diaphragm condenser which typically handle transients well. The body mic would normally be a large-diaphragm condenser adding overtones and bringing out the sound of the top. Having the guitar on two tracks I can EQ them differently, compress or apply effects to them individually and in some cases even spread them out in the stereo field.
One caveat: even though they are targeted at different parts of the instrument they are always the exact same distance from it. This minimizes phase issues.
I in my home studio I use a Studio Projects B3 in omni or cardiod(depending on how much room I want to hear) on the body and an Electro-Voice RE100 for the picking. I purchased the B3 for $106 new and the RE100 for $112 used on Ebay.
The B3 is used for everything from drum overhead to lead vocal. The RE100 does time on snare top as well. My point is that they both get a lot of use on things other than acoustic guitar.
I don't think you need a $500 mic to do good acoustic guitar recordings. It doesn't hurt, but I wouldn't take the word of a guy who wants to be a dead drummer as the end-all authority on guitar recording.
Old 14th November 2009
  #16
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TurboJets's Avatar
FWIW I love the combination of an MK-012 + 4033 - they just seem to really work well together for me, even with native american flute. And I use the 012 w/omni cap for my own vocals a lot. If you're interested in a 4040 I'd recommend it, IMO it's a fantastic mic with a nice neutral sound.
Old 14th November 2009
  #17
The TLM 102 turns out to be more suitable for spoken word and vocals, apparently it has a presence boost somewhere.
Afaik, the KSM32 is a bit more neutral, which means to me that it'll work on just about anything.

With 'better' I mean for what I'm gonna use it.

Quote:
Originally Posted by ears2thesky View Post
I always record acoustic guitar with two mics. I put one around the end of the fret board angled toward the picking fingers and another between the bridge and end of the body. I find that the mic used for the picking is almost always a small-diaphragm condenser which typically handle transients well. The body mic would normally be a large-diaphragm condenser adding overtones and bringing out the sound of the top. Having the guitar on two tracks I can EQ them differently, compress or apply effects to them individually and in some cases even spread them out in the stereo field.
That's basically what I had in mind when I started this topic, yes.
But then again, is it really necessary for someone like me who's just waiting to start off with recording?

The MK-012 seems to return everywhere I post, so to me this is definitely one to consider.
The AT4040 was actually the first mic that came to mind when considering getting a microphone.
Old 14th November 2009
  #18
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Unclenny's Avatar
Well....you're getting the advise that you didn't want.

So I'll chime in too........

Get yourself a 32 and a 57 and start tracking. Put the 57 on the 12 fret and fool around with body placement for the 32 as per ears2thesky.

The first song in my link was tracked with that combo on the acoustic and on the vocals.......both mics at once for the vox.
Old 14th November 2009
  #19
I'd rather get an MK-012, really, an SM57 costs 165 dollars in Germany (I live in the Netherlands though), while I can get an Oktava MK-012 for $80 more (prices converted from euro).
I suddenly realised that additional import costs can rise pretty high, so this means a KSM32 from the US, with the shipping costs (~$50 *sigh*), and using 50% as percentage for additional import costs, I could end up paying just as much as one costs here ($900).
Old 14th November 2009
  #20
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Unclenny's Avatar
Wow.

That is unfortunate.

I revise my opinion. Get the 27 and the 137 and start tracking immediately.
Old 14th November 2009
  #21
It's of no use, both add up to $950.
An SM27 locally costs $75 less than a KSM32 over in the US.
I could take the risk and try to import the KSM32 hoping it'll be cheaper than buying it here, or I'll just have to save up and buy it here anyway.
Old 15th November 2009
  #22
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CZ101's Avatar
 

Quote:
Originally Posted by Cue Zephyr View Post
I'd rather get an MK-012, really, an SM57 costs 165 dollars in Germany (I live in the Netherlands though), while I can get an Oktava MK-012 for $80 more (prices converted from euro).
I suddenly realised that additional import costs can rise pretty high, so this means a KSM32 from the US, with the shipping costs (~$50 *sigh*), and using 50% as percentage for additional import costs, I could end up paying just as much as one costs here ($900).
Good idea about getting an MK-012.. Anyway, either a 57 or an MK-012 will be mics you'll hold on to even if you eventually get more expensive mics down the road. I've heard and used the KSM137, and while I think it really is a fantastic mic, I personally would reach for the MK-012 first for most things. Maybe for some woodwinds, I can imagine favoring the 137.

Also, whatever "low-end" means to you guys, to me it simply means "cheap." A lot of stuff that is now considered "high-end" was at one point or another, widely considered "low-end."

I found two Telefunken Elam 351's in their wooden cases, literally buried under a pile of broken stuff at a classical radio station that I worked at in the early 90s. Of course, even by then, they certainly weren't so "low-end" (cheap), but some dumbass, most likely in the 80's, maybe even the late 70's/early 80's, put them there thinking who knows what? and there they sat.

All I'm saying is, what might be cheap now, might not be so cheap always.

To me, the AT4050 is a modern classic at any price.
Old 15th November 2009
  #23
Local price for a 4050 is about $960 while they cost $700 in the US.
Prices are ridiculous here.
A KSM141 here is just as expensive as an AT4050 in the US.
Why is the 4050 a modern classic to you?

The MK-012 is one I'll keep in mind.

Gonna add a AKG C214 to the 'to try' list.
Old 15th November 2009
  #24
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Quote:
Originally Posted by Cue Zephyr View Post
Local price for a 4050 is about $960 while they cost $700 in the US.
Prices are ridiculous here.
A KSM141 here is just as expensive as an AT4050 in the US.
Why is the 4050 a modern classic to you?

The MK-012 is one I'll keep in mind.

Gonna add a AKG C214 to the 'to try' list.
The 4050 is one condenser that will, in my opinion, yield something useable to great regardless of what you put it in front of. It lives at the juncture of truth and beauty. It might not always win, but it won't let you down.
Old 15th November 2009
  #25
I wish I could get one but the prices are so messed up that this won't happen in the near future.

Anyone for the AKG C214?
Old 15th November 2009
  #26
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CZ101's Avatar
 

Quote:
Originally Posted by Cue Zephyr View Post
I wish I could get one but the prices are so messed up that this won't happen in the near future.

Anyone for the AKG C214?
What about 2nd hand?
Old 15th November 2009
  #27
Nothing much available here.
Everything that's made in the EU is cheaper here.
That way, a Shure KSM32 is over 200 dollars more expensive here, and an AKG C214 just 20.
However this isn't the kase with the C414.
Old 15th November 2009
  #28
Gear Head
 

Quote:
Originally Posted by Cue Zephyr View Post

Another thing, will multi-pattern really be necessary at this point?





No but if you envision recording yourself singing and playing simultaneously, the figure 8 pattern can come in very handy. I often record guitar with fig.8 and use a dynamic or another fig.8 on vocals. With this setup you have some ability to process the guitar and vocals separately. Using 2 cardioid condensers, the bleed is such that you would be just as well off using one well positioned mic. If you're going to record vocals and guitar separately, then disregard everything I said.
Old 15th November 2009
  #29
Gear Nut
 

Quote:
Originally Posted by Cue Zephyr View Post
Hello everyone.
I kind of changed my mind, thought it would be a better idea to get two lower-end microphones, since it's more versatile and I don't have a good enough pre-amp to get a semi-professional mic.

So, I had this in mind:
I could do a two-mic set-up on my guitar, as well as use an SDC on the guitar and the LDC on my vocals.
Suggestions for mics:
LDC: Shure SM27, AT-4040, (leaning towards the 27).
SDC: Shure KSM109 or KSM37, Oktava MK-012 (leaning a bit towards the 137).
The 4040 and 27 seem pretty similar, they have about the same peaks around 5k-10k and a bit higher, both cardioid, both around the same price, however the SM27 has SLIGHTLY less noise, is SLIGHTLY more sensitive and is SLIGHTLY cheaper.
I think it would match up well with the 137.
Also checked the SM137, but it seems to be more similar to the 109 than the KSM137 (might have overlooked some things).

I'm not really looking for suggestions actually.
Has anyone have one or two of these mics?
If so, how is your experience with it?
And if possible, could I hear some demos?

Thanks in advance.
Why do you think you need a LDC to capture guitar? Randomly buying mics will not improve your tone.
Old 15th November 2009
  #30
Lives for gear
 
rty5150's Avatar
 

so, are you going to buy something or not? perpetuating these threads are not going to get those tracks recorded. i understand that you want to make sure you get the right product, but come on, man. there's safe, then there's paranoid. you have already got tons of good advice. either shit or get off the pot.
by no means is this meant to offend you, but it seems you keep running around in circles.
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