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Affordable LDC Microphone With Multiple Voicings
Old 1st August 2016
  #3511
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It's true, I don't hear much about it and the frequency chart is fairly similar to the MkI only with a 1-2 dB rise in the upper reg. I guess the center vs edge terminated capsule is where the real difference arises
Old 1st August 2016
  #3512
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Quote:
Originally Posted by Carabinerx View Post
I actually have an sm7b already and the Phoenix audio and AEA are high on my list of replacements, and maybe the sonic farm silkworm. I'm curious, I don't really know the main difference, in application, between center and edge terminated sonically. I appreciate you taking a listen, I like the MkI but it's only one of 3 mics I own/have owned so I'm limited in that knowledge
Try a Cloud Lifter before investing in a new preamp. It's well worth the price of entry and works well to push gain to the SM7b, brining whatever preamp you're using to life by giving it the headroom you need.

To the above comments regarding sequence of proper signal chain, I think some have this mixed up. Here's how it goes:

room > source > mic > pre ....and it can continue from there. Now, for most of us home studio folks we only have so much control over the first variable, and while it's the first in the signal chain the MOST important will always be "the source.".....but sonically speaking, your room is the foundation from which every other variable is built. You can work around it, try to compensate for it, etc., but you can't escape it. Put a great singer on a U87 in a crappy room, it'll sound like a U87 with a great singer in a crappy room. Some people have learned to make that part of "their sound,' but it is what it is.

Which brings me back to the SM7b. THIS is EXACTLY why I dig dynamic and ribbon mics for home recording. You really can achieve a lot more in a less than ideal room with dynamics and ribbons because they don't pick up as much of the room due to their low proximity and more limited polar patterns. Plus, like mentioned above, when used right they tend to sit very nicely in the mix. The nice thing about the higher end dynamics, like the SM7b, is they're pretty much point and go.
Old 1st August 2016
  #3513
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Quote:
Originally Posted by Gretsch 6120 View Post
Try a Cloud Lifter before investing in a new preamp. It's well worth the price of entry and works well to push gain to the SM7b, brining whatever preamp you're using to life by giving it the headroom you need.

To the above comments regarding sequence of proper signal chain, I think some have this mixed up. Here's how it goes:

room > source > mic > pre ....and it can continue from there. Now, for most of us home studio folks we only have so much control over the first variable, and while it's the first in the signal chain the MOST important will always be "the source.".....but sonically speaking, your room is the foundation from which every other variable is built. You can work around it, try to compensate for it, etc., but you can't escape it. Put a great singer on a U87 in a crappy room, it'll sound like a U87 with a great singer in a crappy room. Some people have learned to make that part of "their sound,' but it is what it is.

Which brings me back to the SM7b. THIS is EXACTLY why I dig dynamic and ribbon mics for home recording. You really can achieve a lot more in a less than ideal room with dynamics and ribbons because they don't pick up as much of the room due to their low proximity and more limited polar patterns. Plus, like mentioned above, when used right they tend to sit very nicely in the mix. The nice thing about the higher end dynamics, like the SM7b, is they're pretty much point and go.
I was with you right up until the ribbon in a bad room part. Ribbons, or 99% of them, are Fig 8 and Fig 8 only. They pick up way more of the room than an LDC in cardioid.
Old 1st August 2016
  #3514
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Quote:
Originally Posted by Ragan View Post
I was with you right up until the ribbon in a bad room part. Ribbons, or 99% of them, are Fig 8 and Fig 8 only. They pick up way more of the room than an LDC in cardioid.
Fair enough, and I'm just speaking from my experience with inexpensive NOS and MXL ribbons run through budget preamps. In my applications the ribbons don't pick up and aren't near as sensitive as the typical LDC. But yes, to qualify and clarify, they are more sensitive than a typical dynamic, and the figure 8 can be a wonderful or problematic thing. I LOVE the ribbons on guitar cabs. I've even had great results with them on certain vocals. I've not experienced mine picking up as much of the room as any of my other LDCs, but that's just me and my setup.

The one thing I really dig about the SM7b too is that it works so well on so many different sources. Conversely, I don't own a ribbon that I think sounds great on everything. For me they're very useful but have limited function.
Old 1st August 2016
  #3515
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Quote:
Originally Posted by Carabinerx View Post
I....I'm curious, I don't really know the main difference, in application, between center and edge terminated sonically. ...
The MKI, MKII and MKVI are center-terminated capsules. The MKIII, MKIV and MKV are edge-terminated. "They" say a center-terminated capsule pushes the midrange more than an edge-terminated capsule. In listening to your mp3, I thought your MKI vocal sounded a little pinched, which is odd because the MKI is not a thin mic. Looking at response graphs, the MKII is very similar. Have you tried tracking vocals with both the sm7b and the MKI on the same song? That might indicate which direction you need to go in.

I just got a 3u Audio Teal and really love it on vocals. It's edge-terminated, (which would give you a totally different voicing than the MKI) but doesn't scoop the mids like one might expect. At only $110, that might be a good direction to go in, especially if you end up with a juicy preamp to run it through. I run mine through the Tonelux and it's awesome! It has that same "finished" sound as the sm7b through the Phoenix Audio preamp, but of course it sounds different than the sm7b.
Old 1st August 2016
  #3516
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Quote:
Originally Posted by Ragan View Post
I was with you right up until the ribbon in a bad room part. Ribbons, or 99% of them, are Fig 8 and Fig 8 only. They pick up way more of the room than an LDC in cardioid.
Actually, the distance factor (direct versus ambient sound) is 1.7 for both cardioid and figure eight.
For omni it's 1.0 and for hypercardioid it's 2.0.
Of course cardioid rejects the back whereas figure eight (bi-directional) rejects the sides. So it depends on the room and the place therein.

(Also, ribbons tend to roll off the highs, so before EQ they seem (!) to be less detailed than condensers.)
Old 1st August 2016
  #3517
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Quote:
Originally Posted by uncle duncan View Post
I thought your MKI vocal sounded a little pinched, which is odd because the MKI is not a thin mic. Looking at response graphs, the MKII is very similar. Have you tried tracking vocals with both the sm7b and the MKI on the same song?
Not on that specific track, but this weekend I did a shoot out between the two and the MkI is much punchier and more present than sm7b, at least through the wa12. I'll have to go back and review the mkII samples, maybe that's the way to go if it's so similar to the MkI only slight boosted highs. How does a 6:5 transformer effect the sound compared to the 9:5, is that a compression or a ratio of how "affected" the input is? I'm thinking of going the Phoenix route, not a lot of sound samples but I heard a DI shoutout with a number of other nice preamps and to me it was one of the best.
Would you recommend going more of the tonelux route though to thicken up the vocals a bit more?
Old 1st August 2016
  #3518
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uncle duncan's Avatar
 

Quote:
Originally Posted by Carabinerx View Post
... I'm thinking of going the Phoenix route, not a lot of sound samples but I heard a DI shoutout with a number of other nice preamps and to me it was one of the best.
Would you recommend going more of the tonelux route though to thicken up the vocals a bit more?
If you want presence, I'd go with the Phoenix Audio. I just checked my shootout file and found a vocal with my GZ12fet going through both the Phoenix and the Tonelux. The Phoenix is more 3-d, or vivid, with the highs more apparent, the Tonelux is fatter. That's why I use the Tonelux with the Teal mic. The Teal is transformerless and benefits from a little thickening.

Curious, I just delved deeper into my shootout file and found a Warbler MKI track I could compare with the Teal and the $1,000 ADK Vienna 2au. (For the last, probably 15 years, I've been adding to this shootout file, which is a backing track to one of my songs. Of course, the vocal quality will change from day to day, or year to year, but it's still a good way to compare mics and preamps.) The Warbler does sound pinched or honky compared to the other two mics. The ADK Vienna (edge-terminated capsule) has more of a full range smile curve type of sound - more lows, more highs - and the Teal (also edge-terminated) sounds very similar to the Vienna but with perhaps a touch more in the upper mids. I still think the Teal would be the way to go if you're looking to try another mic - edge terminated capsule versus your center terminated MKI (or MKII.) Plus, you'd be getting the sound of a $1,000 mic for $110. I also tried the Warbler MKIV (edge-terminated) but sold it because it didn't suit my voice. It, too, was less hyped than the Vienna, which is what Gousheng is going for - controlled highs versus big, shiny highs.

I almost bought a Silkworm. There are just too many choices in the 500 series. Another preamp I would have liked to try is the Atlas Juggernaut. I believe it has two different transformers inside. It's supposed to be very versatile with the option to go really dark and thick. What's nice about the Phoenix is, with the output gain up you can get a very pristine clean sound. As you back off on the output and push the input, you get more "smack", to the point that you can smear your S's if you go too far. It's a really cool preamp with an undefinable magic quality - especially on the sm7b , which is, indeed, a very boring mic going through a generic preamp.
Old 1st August 2016
  #3519
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Quote:
Originally Posted by uncle duncan View Post
Curious, I just delved deeper into my shootout file and found a Warbler MKI track I could compare with the Teal and the $1,000 ADK Vienna 2au. (For the last, probably 15 years, I've been adding to this shootout file, which is a backing track to one of my songs. Of course, the vocal quality will change from day to day, or year to year, but it's still a good way to compare mics and preamps.) The Warbler does sound pinched or honky compared to the other two mics. The ADK Vienna (edge-terminated capsule) has more of a full range smile curve type of sound - more lows, more highs - and the Teal (also edge-terminated) sounds very similar to the Vienna but with perhaps a touch more in the upper mids. I still think the Teal would be the way to go if you're looking to try another mic - edge terminated capsule versus your center terminated MKI (or MKII.) Plus, you'd be getting the sound of a $1,000 mic for $110. I also tried the Warbler MKIV (edge-terminated) but sold it because it didn't suit my voice. It, too, was less hyped than the Vienna, which is what Gousheng is going for - controlled highs versus big, shiny highs.

I almost bought a Silkworm. There are just too many choices in the 500 series. Another preamp I would have liked to try is the Atlas Juggernaut. I believe it has two different transformers inside. It's supposed to be very versatile with the option to go really dark and thick. What's nice about the Phoenix is, with the output gain up you can get a very pristine clean sound. As you back off on the output and push the input, you get more "smack", to the point that you can smear your S's if you go too far. It's a really cool preamp with an undefinable magic quality - especially on the sm7b , which is, indeed, a very boring mic going through a generic preamp.
I still think the Teal would be the way to go if you're looking to try another mic - edge terminated capsule versus your center terminated MKI (or MKII.) Plus, you'd be getting the sound of a $1,000 mic for $110. I also tried the Warbler MKIV (edge-terminated) but sold it because it didn't suit my voice. It, too, was less hyped than the Vienna, which is what Gousheng is going for - controlled highs versus big, shiny highs.[/QOUTE]

What do you think of the MkIII? Though it is transformer based, the 1st voicing is awful close to the teal as far as the freq chart, with voice 2 being similar to the II and voice 3 (less so) close-ish to the 1. I'm not sure, if I do go with one of these cleaner pres, that I want to loose some of that tranny oomph in the mic too, at least that's my thinking, I do have a thinner voice in certain ranges so it seems to benefit from a little fattening.

I think the Phoenix and silkworm are my go to options right now, there are too many to choose from but as far as options, price, rep, and tone I think either will be a winner. The atlas looks good too but is getting to the limit of what I want to spend. I'm hoping by the weekend to be able to pull the trigger on one.
Old 2nd August 2016
  #3520
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Quote:
Originally Posted by Carabinerx View Post
What do you think of the MkIII?...
If you're referring to my GZ12fet (upgraded MKIII), it's for sale, my Teal is not. Ha ha.

The Teal has a little more presence than the the GZ12fet. I only found one singer who sounded perfect on the GZ12, a very thick-voiced baritone. I was using a Stellar CM6 for his lead vocals, and the GZ12 for BG's, but when we solo'd the GZ12, we liked it better on him than the CM6, mainly because it cleared out some of the mud in his voice. (The CM6 is center-terminated. It's a rather thick sounding mic, even with the stock tube.) I've been using the GZ12 mainly for BG vocals so they don't compete with the more full-range smile curve lead vocal.

There are times when I've got four singers in here all tracking at once, 2 males, 2 females, or sometimes 3 females in the big room and a lead singer in the control room, and I need good mics to cover them all. I was using a TLM102 on one of the ladies, but the GZ12 sounded better on her, so now the TLM102's for sale. Unlike you, I'm approaching the end of the line when it comes to gear accumulation, and now it's time to start thinning the heard.
Old 2nd August 2016
  #3521
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ARIEL's Avatar
I am curious as to how the 3U Teal or Black mic sound compared to an AT4050. Anyone owning either of those mics done a comparison ?
Old 2nd August 2016
  #3522
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D-Fyant's Avatar
Quote:
Originally Posted by Gretsch 6120 View Post
Try a Cloud Lifter before investing in a new preamp. It's well worth the price of entry and works well to push gain to the SM7b, brining whatever preamp you're using to life by giving it the headroom you need....
I've found this with my FetHead. It tends to make dynamic mics brighter as well. At least that's what I hear when paired with the sm7b and the re20 connected directly to the mic:

Re20 or sm7b-->fethead-->gr me-1nv (cleaner setting)-->venice f32

or

Re20 or sm7b-->fethead-->isa one-->pbc-6a-->venice f32

These were my main go to vocal chains for the last couple of years despite having a stellar cm-6, stellar cm-5 and a few other decent mics like cads and others (I also have a few other budget ones like mxls, studio projects, etc.). It just seemed to get me to the sound I was looking for a little faster; mid present with a little air on the top.

Lately, I've been getting clients asking for more of an airy presence on their vocal, so I brought out the stellar mics.
The cm-6 does give me a good sound, but a little bit more sibilance than I like to fix in the mix.
The cm-5 didn't get me where I wanted (for this application) really but works good when air in the vocal isn't something you need to hear in the mix...has high presence but not as much of that "air on the top" sound vs something like the cm-6.

Hopefully once my warbler mkvid gets here, it will become exactly what i'm looking for as far as airiness in a vocal.
Old 2nd August 2016
  #3523
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uncle duncan's Avatar
 

Quote:
Originally Posted by D-Fyant View Post
...The cm-6 does give me a good sound, but a little bit more sibilance than I like to fix in the mix....
Have you tried a NOS E80F tube? If you can find one made in Holland, that could knock down some of the brightness. I put one in my CM6 for a while, but then put the stock tube back in to get more air. I guess the next time I'm mixing and the S's are getting out of hand, I'll go back to the NOS tube.
Old 2nd August 2016
  #3524
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Mulmany's Avatar
Quote:
Originally Posted by ARIEL View Post
I am curious as to how the 3U Teal or Black mic sound compared to an AT4050. Anyone owning either of those mics done a comparison ?

I had 2 4050's and sold them when I got my MKID'S. The 4050 has an over hyped top, harsh top, or it just get edgy. I liked it, but I was always eqing the crap out of it, and even then it never gave me a smooth polished sound. The MKID, closer to the Black, is a step up IMHO. I have had less to fight and it takes eq better.
Old 2nd August 2016
  #3525
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ARIEL's Avatar
Quote:
Originally Posted by Mulmany View Post
I had 2 4050's and sold them when I got my MKID'S. The 4050 has an over hyped top, harsh top, or it just get edgy. I liked it, but I was always eqing the crap out of it, and even then it never gave me a smooth polished sound. The MKID, closer to the Black, is a step up IMHO. I have had less to fight and it takes eq better.
Thanks for the info and replies I appreciate that !
Old 2nd August 2016
  #3526
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Quote:
Originally Posted by D-Fyant View Post
I've found this with my FetHead. It tends to make dynamic mics brighter as well. At least that's what I hear when paired with the sm7b and the re20 connected directly to the mic:

Re20 or sm7b-->fethead-->gr me-1nv (cleaner setting)-->venice f32

or

Re20 or sm7b-->fethead-->isa one-->pbc-6a-->venice f32

These were my main go to vocal chains for the last couple of years despite having a stellar cm-6, stellar cm-5 and a few other decent mics like cads and others (I also have a few other budget ones like mxls, studio projects, etc.). It just seemed to get me to the sound I was looking for a little faster; mid present with a little air on the top.

Lately, I've been getting clients asking for more of an airy presence on their vocal, so I brought out the stellar mics.
The cm-6 does give me a good sound, but a little bit more sibilance than I like to fix in the mix.
The cm-5 didn't get me where I wanted (for this application) really but works good when air in the vocal isn't something you need to hear in the mix...has high presence but not as much of that "air on the top" sound vs something like the cm-6.

Hopefully once my warbler mkvid gets here, it will become exactly what i'm looking for as far as airiness in a vocal.
Please keep me posted on your impressions of the Warbler. I've been following the Warbler 3U threads since they started, but I've learned over the years to let the hype and dust settle before jumping on any of the latest and greatest gear all the "cool kids" are chasing because more often than not enthusiasm fizzles with time. I try to stick with stuff that's tried and true. I'm sure the Warbler 3U is a fine mic, but I have some fine LDCs now. I don't use them very often for lead vocals, however, for the very reasons cited. Another LDC isn't going to change the variables that lead me to preferring the SM7b on vocals the majority of the time. But, if there was a LDC that came along and truly had the potential to be a game changer for me then I'd buy it.

The RE20 has been on my short list for years, btw. Like you said, the dynamic mics seems to fit in the mix much easier than most LDCs.
Old 2nd August 2016
  #3527
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Well I'm swapping my mkI for a VI, I'll report back on how it works out, plus I'll have a different preamp to run it through that I'll use to post some clips comparing.

Last edited by Carabinerx; 3rd August 2016 at 12:58 AM..
Old 3rd August 2016
  #3528
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D-Fyant's Avatar
Quote:
Originally Posted by uncle duncan View Post
Have you tried a NOS E80F tube? If you can find one made in Holland, that could knock down some of the brightness. I put one in my CM6 for a while, but then put the stock tube back in to get more air. I guess the next time I'm mixing and the S's are getting out of hand, I'll go back to the NOS tube.
No I haven't tried swapping any of the tubes on my mics. I really do like the air that the CM-6 gives. I wish it was scooped just a little bit around the 7k. It may be worth a try to track down one of those tubes though, if for nothing else, to give me a different flavor for the mic. I'll try to track down one and keep you posted. I think my new warbler might steal all of my attention though once it gets here!
Old 3rd August 2016
  #3529
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D-Fyant's Avatar
Quote:
Originally Posted by Gretsch 6120 View Post
Please keep me posted on your impressions of the Warbler. I've been following the Warbler 3U threads since they started, but I've learned over the years to let the hype and dust settle before jumping on any of the latest and greatest gear all the "cool kids" are chasing because more often than not enthusiasm fizzles with time. I try to stick with stuff that's tried and true. I'm sure the Warbler 3U is a fine mic, but I have some fine LDCs now. I don't use them very often for lead vocals, however, for the very reasons cited. Another LDC isn't going to change the variables that lead me to preferring the SM7b on vocals the majority of the time. But, if there was a LDC that came along and truly had the potential to be a game changer for me then I'd buy it.

The RE20 has been on my short list for years, btw. Like you said, the dynamic mics seems to fit in the mix much easier than most LDCs.
I totally understand what you're saying and will definitely keep you posted. I mostly purchased the Warbler off of the strength of Dennis. He just taught me soooo much about mics, pres, etc. Since he had such a rave review of them, I figured it would be a decent homage to him to buy one and at least try it out to see what I thought. He never steered me wrong.

If it helps you with your decision on the RE20, I actually use it more than my sm7b. It tends to stay on the mic stand for vocal takes nowadays while the sm7b only comes out when it doesn't do the job (which is rare).
Old 4th August 2016
  #3530
Gear Head
Recorded these with a pair of MKIDs just outside the lid and a spaced pair of little blondies. Piano in a friend's house, MOTU 1248 preamps. Nothing fancy. Really like these mics.
Attached Files

Piano Concerto Movement Three.mp3 (7.14 MB, 1447 views)

Old 4th August 2016
  #3531
Does anybody have any clips of The Warblers VS mics from Peluso/Flea/Telefunken??? That would be great to hear. Like the Warbler MKiiiD Vs Peluso P12 or even Warbler MKVI Vs Peluso VTB both Sony C800g types.
Old 4th August 2016
  #3532
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I was wondering if someone might be able to give advice on which Warbler to try on a female singer with a lot of midrange? I'll try to post a clip if I remember later.

I was thinking a 251 inspired like the IV to boost the higher frequencies over the midrange?
Old 4th August 2016
  #3533
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The question is do you want to capture, emphasise or tame those mids?

And what would she want?
Old 4th August 2016
  #3534
Gear Addict
 

Hey, I'm just putting it out there -- I have a MKVId. It's a great mic, but it doesn't quite match my voice. I've had great results from the Stellar CM-5, which has me interested in the CM-6. If anyone has a CM-6 they'd like to trade, please PM me. I realize they're at slightly different price point, so I'm willing to negotiate. Let me know if you're interested.
Old 4th August 2016
  #3535
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Quote:
Originally Posted by legato View Post
The question is do you want to capture, emphasise or tame those mids?

And what would she want?
She usually just says what I think is best. I wish she did have more input.
To me it seems the midrange should be scooped slightly with the bottom and higher frequencies raised slightly. I think it'll be best to post a clip though.
Old 4th August 2016
  #3536
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Ragan's Avatar
 

Quote:
Originally Posted by nimm View Post
She usually just says what I think is best. I wish she did have more input.
To me it seems the midrange should be scooped slightly with the bottom and higher frequencies raised slightly. I think it'll be best to post a clip though.
Any of the edge terminated varieties will probably be the ticket.

Teal CM-1/Warbler IV/GZ251
Old 4th August 2016
  #3537
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uncle duncan's Avatar
 

Quote:
Originally Posted by genesisgk View Post
Does anybody have any clips of The Warblers VS mics from Peluso/Flea/Telefunken??? That would be great to hear. Like the Warbler MKiiiD Vs Peluso P12 ...
I have the GZ12fet (MKIII with upgraded tranny.) I used to have a Peluso CK12 capsule in a modded Apex tube mic but changed out the capsule after I got tired of dealing with sibilance. Sibilance is not an issue with the GZ12fet. Comparing it to a ADK Vienna AU2, the Vienna is significantly brighter with a bigger low end bump. I mention the Vienna because it's similar to the Peluso I used to have except the sibilance on the Vienna is less of an issue.

I would say the GZ12fet falls somewhere between a bright C12 style mic and a flat mic. I have an old C414 P48 (teflon capsule) that scoops more midrange than the GZ12fet. I chose the 414 over the GZ12fet on a lady singer with a midrangy voice recently. What the GZ12fet can do is sculpt a thick voice into a more transparent sound. The rise starts at 3k, which can sound "hard" on some sources, and the high end is not particularly bright, meaning it does not disguise midrange like a Peluso would. I put up my GZ12 for BG vocals mainly, unless I get a thick-voiced singer that needs less thickness.

In this clip, I "sang" (yeah, I'm not much of a singer) into both mics side by side at about 6 inches, - GZ12fet and ADK Vienna 2au going through a DAV preamp (cleanish round sound.) I then did a mix with a touch of verb on each mic and then cut up the mixes so each phrase is repeated. The first phrase is the Vienna, the repeat is the GZ12fet. The track is an old midi demo I've been using for mic shootouts for ages, so don't laugh. Plus, it's not my midi track, someone else did it, although it's my song.
Attached Files

Vienna vs GZ12fet.mp3 (907.0 KB, 2911 views)

Old 4th August 2016
  #3538
Quote:
Originally Posted by Beel Zebub View Post
Hey, I'm just putting it out there -- I have a MKVId. It's a great mic, but it doesn't quite match my voice. I've had great results from the Stellar CM-5, which has me interested in the CM-6. If anyone has a CM-6 they'd like to trade, please PM me. I realize they're at slightly different price point, so I'm willing to negotiate. Let me know if you're interested.
Ive been looking for a 2nd hand MKVID, the CM5 is more on the lines of a 251/c12, it will be bright but compared to the MKVID the MK will be a little less bright with more low mids to my ears. I have a MXL Genesis Tube Microphone with the Mullard tube in good condition if your looking for a different flavor mic than the MKVID. Its smooth an has a nice color to it. Its the original Red model.
Old 4th August 2016
  #3539
Quote:
Originally Posted by uncle duncan View Post
I have the GZ12fet (MKIII with upgraded tranny.) I used to have a Peluso CK12 capsule in a modded Apex tube mic but changed out the capsule after I got tired of dealing with sibilance. Sibilance is not an issue with the GZ12fet. Comparing it to a ADK Vienna AU2, the Vienna is significantly brighter with a bigger low end bump. I mention the Vienna because it's similar to the Peluso I used to have except the sibilance on the Vienna is less of an issue.

I would say the GZ12fet falls somewhere between a bright C12 style mic and a flat mic. I have an old C414 P48 (teflon capsule) that scoops more midrange than the GZ12fet. I chose the 414 over the GZ12fet on a lady singer with a midrangy voice recently. What the GZ12fet can do is sculpt a thick voice into a more transparent sound. The rise starts at 3k, which can sound "hard" on some sources, and the high end is not particularly bright, meaning it does not disguise midrange like a Peluso would. I put up my GZ12 for BG vocals mainly, unless I get a thick-voiced singer that needs less thickness.

In this clip, I "sang" (yeah, I'm not much of a singer) into both mics side by side at about 6 inches, - GZ12fet and ADK Vienna 2au going through a DAV preamp (cleanish round sound.) I then did a mix with a touch of verb on each mic and then cut up the mixes so each phrase is repeated. The first phrase is the Vienna, the repeat is the GZ12fet. The track is an old midi demo I've been using for mic shootouts for ages, so don't laugh. Plus, it's not my midi track, someone else did it, although it's my song.
I cannot find any GZ12fets anywhere lol I still havent seen one, is the designer out of stock? Does anyone have a clip of the Warbler MKiiiD vs GZ12fet? I wanna know the differences in sound the transformer makes. If either is on the level sound wise with the Flea/Telefunken c12 I want it. Maybe a pair.
Old 4th August 2016
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Originally Posted by genesisgk View Post
I cannot find any GZ12fets anywhere lol I still havent seen one, is the designer out of stock? Does anyone have a clip of the Warbler MKiiiD vs GZ12fet? I wanna know the differences in sound the transformer makes. If either is on the level sound wise with the Flea/Telefunken c12 I want it. Maybe a pair.
I special ordered mine via an email to Gousheng at 3u Audio. This was back in November, shortly after the GZ series mics became available. I would think comparing the GZ67fet to the Warbler MKI would be give you an idea of how close a MKIII would be to a GZ12fet. BTW, my GZ12fet is for sale, if you want to try it out. Return shipping via USPS would be in the $20 range if you decided you didn't like it. If you do get to compare a GZ12fet to the Flea or Telefunken, I think you'll find those other mics more in line with the Vienna - more of a smile curve than the GZ12fet.

What I get from Gousheng is a desire to present alternatives to the hashy-bright mics that dominate the scene these days. In that respect, he's not competing with Flea and Telefunken, he's offering a different approach - letting the user add more high end via EQ, rather than saddling the user with too much high end coming into the preamp. If you really want a C12 style mic comparable to the original, perhaps you could email Gousheng and see if he could tweak a GZ12fet to your specifications. He did that with the Warbler MKVI after users requested a brighter version of the MKI.
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