Quote:
Originally Posted by
Rockabilly69
I'm not against using cheap mics. I just preferred the TLM193 in that mix. I just bought two MXL mics, a Revelation, and a Revelation Stereo, which I got ridiculously cheap on a closeout deal ($399 each!!!). They are EF86 based and sound pretty damn good although have a bit of self noise. I personally go for what works best. Last night I was recording a song and I preferred a cheap Blue Robbie pre over my Manley voxbox on the vocal track I was recording. I also use SM7s and SM57s where many people would use more expensive mics. TO top it off I really like the Neumann TLM103 and the Rode NTK, mics everybody loves to hate. So I truly believe in what works for the song. And I really like the sound of the GZ67 from what I've heard on Ragan's tracks, I just don't like the sound of the GZ800 in that mix, it was just too thin and edgy.
I've had a little TLM103 for a long time. Now have a pair. I work out of other studios a lot, and there were always "better" mics to choose from. I bought into the internet hype that the TLM103 was a sizzly, over hyped piece of crap, even though my ears didn't tell me that. At least not with most singers with good natural tone.
Way back in like 2011, there is a GS member here named Kenny Gioia.
He posted a mix in which he tracked out virtually all the instruments and voices as overdubs using only the lowly TLM103. I think he said EVERYTHING except the drums.
Anyways, that day changed the way I look at my little mic. That mix sounded amazing. I tried to find the thread just now, and couldn't, but I'm sure it's still on GS. A long one about tracking full bands and drums. He's a great engineer / producer.
tHE BAND WAS TALENTED. Singer had tone.
Which, kinda should be a pre-requisite...no?
I mean no mic or whatever is going to fill the void of no talent / bad tone / no technique. I don't care how nice of a mic.
Customer "I need to buy a mic."
Sales guy "Whatcha looking for?"
Customer "A mic that matches my natural vocal tone and talent level"
Salesman "OK, so a real crappy one?"
I think that we put too much emphasis on the gear, and not enough on technique and performance. Then we blame the mic.
As far as the TLM line in general, the 170, 193, 127, (102 even) are all great mics. Particularly for instrument pickup.
The 170 gets used on every major film scoring session still to this day, and lots of other classical and Jazz work.
They do not bring a lot of extra stuff to your vocal, if you are looking to bling your vocal out. But they most certainly will give you what is there in a respectable, smooth, accurate and easy to listen to way. I bet with any of these mics with a transformer coupled discrete preamp, a new LA2A clone, and a Pultec clone, and you should get amazing results on vocals.
Would I rather have a 67? Yeah, for vocals. For other things, maybe not.
I think we have so many choices it's ridiculous, and I think people jump around looking for equipment and mics to fix things they should do in their performances too often nowadays. That's my thinking.
But, it's Gearslutz, and talking about gear is fun. And having options at these price points certainly can't hurt.