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Affordable LDC Microphone With Multiple Voicings
Old 14th November 2015
  #1441
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Piedpiper's Avatar
Quote:
Originally Posted by kidvybes View Post
...the C800g is certainly iconic, and I'm not sure how it translates as an inspired FET-based design...in the recordings I've heard, the C800g's very modern sheen is it's signature sound, not so much a "tooby" vibe, so it may translate well as a solid-state interpretation...re-creating that top-end sheen while avoiding any edgy, brittle artifacts will be key...
Not tubey in the way that most use that word, but it definitely exhibits tube compression and has a certain richness to it as well as that unattenuated top end having a certain tube like quality, harmonically rich yet not overly aggressive beyond a certain point. I personally would not want a C800G type mic that wasn't tubed, but I'm picky that way. It will be interesting to see what he comes up with and how it will differentiate itself from the lesser Chinese unattenuated K67 style mics.
Old 14th November 2015
  #1442
Gear Nut
 

Quote:
Originally Posted by 3rdstone View Post
Absolutely! Not only do I think it would be more useful, I think that he would sell many more times the mics that he is currently selling. This whole -2dB on the very first voicing is what is keeping me from purchasing 4 mics immediately, and probably more in the future.

Whatever the reasoning was; whether it was an effort to differentiate his product from other chinese mics, or that he has a preference for this voicing etc.etc.etc... I think he is making a mistake by doing this, I truly do.

It's true that these mics will function very well using their current voicing with vocalists, but what about all the people (myself included) who wish to use them as instrument mics?

Last time i checked, instruments didn't have sibilant problems...
And to have to reach for an EQ right out of the gate, is to me, problematic.
Voicing one should have zero attenuation to my way of reasoning, attenuation could be reserved for the other two voicings, and if folks recording vocals want it darker yet, then they can reach for their EQ.

How much EQ do you think has to be applied to these tracks (which are isolated from the master) to achieve this sound? To have to fight a pre-applied attenuation it would have to be that much more, just seems silly to me. (IMO of course)



Or this vocal track, which sounds great by the way, sibilance-shmibilance I say..



The really frustrating part, is that I think these capsules of his sound fantastic, and I don't know (because I don't own one of his mics) but I'll speculate that they would not be harsh sounding if these frequencies were able to shine through. Now an easy reply would be "well don't buy one of his mics" ...but that's not really the point, I want to buy one because as stated above I think they sound great, (just 'veiled') ..and I have found nothing in this price range that can come close. As someone stated earlier, I think they are in a 'class by themselves'.
That's my opinion on all of this, and I bet there is a lot more that have this exact thought.

Cheers...
V1 doesn't appear to have a -2db shelf. A boost in fact, with the sibilant areas remaining flat...
Old 14th November 2015
  #1443
Gear Nut
 

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Old 14th November 2015
  #1444
Gear Nut
 
3rdstone's Avatar
Quote:
Originally Posted by uncle duncan View Post
Perhaps the transformerless Teal CM1 would be a good choice for instruments? If the frequency response graph is any indication, it would be in the ballpark of most LDCs with a modest HF lift.
Thanks uncle duncan, this is a good suggestion, given time, i just may..

Quote:
Originally Posted by Ragan View Post
I don't find these mics dark at all. They're just not bright.

Then again I've always preferred less bright mics. I've used vintage U87s, 414b-ULS, Senn 441s and AEA R84s quite a bit, which I suppose says something about my taste.

I just don't like searing highs. I also don't consider a sibilance dip at 7k to really affect the "brightness". I think 7k, give or take, is where you get harsh or smooth. Brightness, to me, generally acts above 10k. That is, of course, totally subjective.
Yes, as far as I can tell, it really is a taste/preference thing. And I guess I must prefer a crisp and especially 'open' sound. But the mics in my price range that I have listened to, are riddled with a sound that is either flat and 2d, or a mic that exudes highs that are either so seering that they are almost painful, or are crippled, with what I like to call, static or 'graininess'.
BTW, I admire your stance in the Slate VMS thread ...I thinks you are one of the most level headed over there...plus, quite the latency tutorial.

Quote:
Originally Posted by kidvybes View Post
...so I assume you believe that the U47 was particularly smooth?...(the 47 was a brighter mic than the 67 in their original form)...it has an upper mid-forward lift but still displays that same 6-7K dip...

...frankly, I don't see a correlation between a frequency graph chart and the subjective use of the adjective "smooth"...
Yes. I believe that a U47, in good working order, is smooth... And better balanced, frequency-wise, than a U67.
That is, that it has all of the "bright" (as you guys say) characteristics. Which I, in turn, categorize as 'open'... plus, the magic of the tube that treats all of these frequencies with some great even-order harmonics...not to mention great in the lows as well...
Makes the 67 sound 'mid-ish' to my ears in comparison.
As to the 47 having the same dip? Yea, about 3dB down ...the whole mid-high section on the 1 is that much lower, granted, it's not tube...

To respond to you last sentence... yes, I agree, not even a good waterfall plot would suffice, you'd really have to hear it...

Last edited by 3rdstone; 14th November 2015 at 02:01 PM..
Old 14th November 2015
  #1445
Gear Maniac
 
macb3th's Avatar
 

so I've been talking to Guosheng regarding a Sony C800g addition and he seems up for it I reckon it could be really popular for certain genres and a nice addition to his collection.

He was considering a price range - US$270 (fixed cardioid), or US$349 and US$599 (multiple patterns)?

I suggested that a basic budget version and a more advanced version for professionals may be a good idea.

The C800g is cardioid and onmi but I wonder if a hypercardioid setting would be a possible option to help eliminate unwanted reflections for people like myself who are recording in environments that aren't well treated acoustically. I'm sure this is a common issue for people looking for budget microphones.

Does anybody have some good examples of the C800g is use on vocals? I'd like to send them to Guosheng.

What's your thoughts?

Last edited by macb3th; 14th November 2015 at 01:03 PM..
Old 14th November 2015
  #1446
Gear Nut
 
3rdstone's Avatar
Quote:
Originally Posted by Logic Am View Post
V1 doesn't appear to have a -2db shelf. A boost in fact, with the sibilant areas remaining flat...
Your not the first to say, or at least imply that, but I keep reading the original thread he sent me via e-mial, and I don't know:

3U Audio is designing a switchable sound style condenser microphone, any suggestion?

I've decided just to politely ask him.

BTW, thanks for posting the clip of the iSK B2 Beauty, KV...
That's a great sounding mic, and sounds like what I think a tube mic should sound like (at that price of course), I ordered one after listening over a couple of days. Now the wait...
Old 14th November 2015
  #1447
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TurboJets's Avatar
Quote:
Originally Posted by 3rdstone View Post
BTW, thanks for posting the clip of the iSK B2 Beauty, KV...
That's a great sounding mic, and sounds like what I think a tube mic should sound like (at that price of course), I ordered one after listening over a couple of days. Now the wait...
Please post your thoughts on the 2B Beauty when you spent some time with it. I just spent 2 more days with the 2B tracking acoustic guitars, guitar amp and bass amp with super pleasing results. The stock tube seems exceptional to my ears. A nice smooth, round hi-fi sound.
Old 14th November 2015
  #1448
SEED78
Guest
Quote:
Originally Posted by macb3th View Post
so I've been talking to Guosheng regarding a Sony C800g addition and he seems up for it I reckon it could be really popular for certain genres and a nice addition to his collection.

He was considering a price range - US$270 (fixed cardioid), or US$349 and US$599 (multiple patterns)?
F+ck yeah!!!
Old 14th November 2015
  #1449
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kidvybes's Avatar
 

Quote:
Originally Posted by macb3th View Post
Does anybody have some good examples of the C800g is use on vocals? I'd like to send them to Guosheng.
...I have been collecting various sound samples for Guosheng as well as accurate frequency-charts/specs for the C800g to be used as a reference in his development...I also floated the idea of considering a black finish with white engraving (too inspired?)...

...I would agree that emulating the sound of a signature tube mic like the C800g in a FET configuration is a challenge, but if he can achieve that airy, breathy top-end extension to his K67 capsule-based voicing, I think it will be a nice addition to the Warbler-series, particularly for modern pop/rnb vocal tracking...

...looking forward to his interpretation...
Old 14th November 2015
  #1450
It's really cool to watch the 3U Audio story unfold, in real time.

I had a little set back earlier this month which slowed me down for a bit, but getting back on track now. I will still be purchasing a GZ251 and a Warbler MKIID, soon (already have an MKIII). And now this 3U take on the C800g has grabbed my attention again.

Not only is Guosheng making quality products, he has used this thread, and perhaps the Gearslutz forum in general, as a product development tool to his - and his customers - advantage. Add to that the level of kindness and personal attention Guosheng gives, and this is a quite unique situation, seems to me. I'm not saying others do not make quality mics. Nor am I saying nobody else provides personal attention. And I'm certainly not saying 3U has a lock on value for money spent. But I *am* saying, 3U Audio does all of that, with cat-like reflexes to customer input and credible suggestions.

I'm really diggin watching this all evolve, and being a tiny part of it.
Old 14th November 2015
  #1451
SEED78
Guest
Quote:
Originally Posted by kidvybes View Post
...I have been collecting various sound samples for Guosheng as well as accurate frequency-charts/specs for the C800g to be used as a reference in his development...I also floated the idea of considering a black finish with white engraving (too inspired?)...

...I would agree that emulating the sound of a signature tube mic like the C800g in a FET configuration is a challenge, but if he can achieve that airy, breathy top-end extension to his K67 capsule-based voicing, I think it will be a nice addition to the Warbler-series, particularly for modern pop/rnb vocal tracking...

...looking forward to his interpretation...
would inspecting a C48 capsule help at all? I have a C48, they are meant to have similar capsule to a C800g.

I'd love to get a sony C37a clone too! a non 'g' original C800 is meant to be a good sound a like, but I've not go the cash of that (or the Josephson).

Last edited by SEED78; 14th November 2015 at 07:06 PM..
Old 14th November 2015
  #1452
SEED78
Guest
Quote:
Originally Posted by 3rdstone View Post
BTW, thanks for posting the clip of the iSK B2 Beauty, KV...
That's a great sounding mic, and sounds like what I think a tube mic should sound like (at that price of course), I ordered one after listening over a couple of days. Now the wait...
is the B2 a TM11 with a upgraded tube? I ask as was thinking about getting a TM11 then just getting my own NOS tube.

So capsule/transformer/component difference?
Old 14th November 2015
  #1453
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kidvybes's Avatar
 

Quote:
Originally Posted by SEED78 View Post
is the B2 a TM11 with a upgraded tube? I ask as was thinking about getting a TM11 then just getting my own NOS tube.

So capsule/transformer/component difference?
...I believe they are the same, but Kris has been very diligent in his quest for equipping the mic with the best possible valve options...

Quote:
Originally Posted by no genre View Post
It's really cool to watch the 3U Audio story unfold, in real time.

Not only is Guosheng making quality products, he has used this thread, and perhaps the Gearslutz forum in general, as a product development tool to his - and his customers - advantage. Add to that the level of kindness and personal attention Guosheng gives, and this is a quite unique situation, seems to me. I'm not saying others do not make quality mics. Nor am I saying nobody else provides personal attention. And I'm certainly not saying 3U has a lock on value for money spent. But I *am* saying, 3U Audio does all of that, with cat-like reflexes to customer input and credible suggestions.

I'm really diggin watching this all evolve, and being a tiny part of it.
...I have to agree, wholeheartedly...I've been on this forum (and others) for over a decade, and I've never experienced this level of interaction between a manufacturer and the audience they are catering to...the fact that Guosheng's operation, with the exception of metalwork and a the AMI transformers, is pretty much self-contained (R&D and manufacturing) allows him to move rather quickly on new projects...

...and as you said, he's a real gentleman in how he conducts business...trust me, I would not be this supportive of his products if that customer service aspect wasn't as it is...it's much easier to be supportive of good people doing good work...


Old 14th November 2015
  #1454
Gear Maniac
 
macb3th's Avatar
 

Quote:
Originally Posted by kidvybes View Post
...I have been collecting various sound samples for Guosheng as well as accurate frequency-charts/specs for the C800g to be used as a reference in his development...I also floated the idea of considering a black finish with white engraving (too inspired?)...

...I would agree that emulating the sound of a signature tube mic like the C800g in a FET configuration is a challenge, but if he can achieve that airy, breathy top-end extension to his K67 capsule-based voicing, I think it will be a nice addition to the Warbler-series, particularly for modern pop/rnb vocal tracking...

...looking forward to his interpretation...

good job
Old 14th November 2015
  #1455
Lives for gear
 
Ragan's Avatar
 

Quote:
Originally Posted by kidvybes View Post
...I believe they are the same, but Kris has been very diligent in his quest for equipping the mic with the best possible valve options...



...I have to agree, wholeheartedly...I've been on this forum (and others) for over a decade, and I've never experienced this level of interaction between a manufacturer and the audience they are catering to...the fact that Guosheng's operation, with the exception of metalwork and a the AMI transformers, is pretty much self-contained (R&D and manufacturing) allows him to move rather quickly on new projects...

...and as you said, he's a real gentleman in how he conducts business...trust me, I would not be this supportive of his products if that customer service aspect wasn't as it is...it's much easier to be supportive of good people doing good work...


I agree. I've been sorting out some things and deciding on mic directions with Guosheng and he has really been going the extra mile to make sure I'm happy with what I've got. This is a unique situation to be sure, talking directly to the designer AND manufacturer like this.
Old 14th November 2015
  #1456
Gear Nut
 
3rdstone's Avatar
Quote:
Originally Posted by SEED78 View Post
is the B2 a TM11 with a upgraded tube? I ask as was thinking about getting a TM11 then just getting my own NOS tube.

So capsule/transformer/component difference?
As KV stated, I believe they are the same, this is from Isk Pro Audio's site:

Quote:
-Note: The 2B Beauty is an enhanced version of the iSK TRM-11. The TRM-11 uses a Shuguang 12AX7B tube, which is a low cost stock tube used in various OEM products. The 2B Beauty uses a Psvane 12AX7-TII Premium Grade Treasure Tube, which are the factory tested cream of the crop from a company that specializes only in high end tubes. This tube provides even cleaner amplification, and gives this microphone more clarity, and a smoother high end.
Draw your own conclusions, I guess..
Old 14th November 2015
  #1457
SEED78
Guest
Quote:
Originally Posted by 3rdstone View Post
As KV stated, I believe they are the same, this is from Isk Pro Audio's site:



Draw your own conclusions, I guess..
I read that on their site too - I was just curious as a quality NOS tube is likely to be better still, so I wouldn't pay any extra and just opt for a VM11 and get a nice tube myself from a good dealer I've used before.

Stellar CM5/6, Fame VT67 and ISK TM11 have all interested me as a cheap valve mic option - but have put them all on back burner until I own one or maybe 2 of these 3U mics as they seem to cover the classic vibes in a very good way.

Still planning to get a GZ47V once I have the cash, just bit skint right now so might the a month or 2.
Old 14th November 2015
  #1458
Lives for gear
 
TurboJets's Avatar
Quote:
Originally Posted by SEED78 View Post
is the B2 a TM11 with a upgraded tube? I ask as was thinking about getting a TM11 then just getting my own NOS tube.

So capsule/transformer/component difference?
Kris told me IIRC that he chose the TM11 after auditioning all iSK offerings; he picked the mics he liked most. Then decided to rename the mic after upgrading the tube from a Shuguan 12AX7 to the Psvane 12AX7 and offering the 12AY7 as an upgrade. The Psvane sounds beautiful to me and reminds me of some of the hard to find vintage tubes like GE, Philips, RCA...with that hi-fi sound. Nice, smooth, natural, round tube compression with no detectable distortion.
Old 15th November 2015
  #1459
Gear Addict
 
Mulmany's Avatar
Black CM-1

Have any of you compared the Black CM-1 to a MJE Hulk 990? I have been very impressed with what the Hulk is able to do so curious if the Black could do it for less then half the price.
Old 15th November 2015
  #1460
Gear Maniac
 

CM67se tube microphone No 12AX7!!!

Hello, the 12AX7 is not a good choice for a microphone tube...especially when used as a single stage plate output circuit. Its plate impedance is too high!!!

However, they are quite common in Chinese microphones because they are cheap.

The 12AX7 is a dual triode/high gain tube designed for input stages that would usually be coupled into the very high impedance input of the next tube stage; not into the much lower impedance of a microphone output transformer. The 12AX7 also has a signal grid to plate capacitance of 1.7pf which multiplied by the gain of the tube becomes over 100pf. The capsule is about a 80pf capacitor. This means the amplifier will start to roll out its high end response earlier than the capsule.

The 12AX7 has a plate impedance of about 40K ohms with self-bias.

In other words the 12AX7 with self bias has a plate impedance 7 times higher than the plate impedance of the venerable VF14 used in the original U47.

The VF14 was a pentode wired as a single triode in the U47 microphone circuit.

*The "electronics rule of thumb" is the load impedance should be 10 times higher than the source impedance so that there is no loading effects on the tube which could severely compromise the headroom and frequency response of the circuit.

So, doing the math a 12AX7 output transformer should have a turns ratio of 18:1.

As you get down to a 14:1 turns ratio with a 12AX7, then I suspect differences start to become subtley more audible and measurable.

To build a plate output circuit with a lower ratio you need to use either a pentode strapped as a triode with fixed bias or a 12AT7. The 12AT7 will give you a plate output impedanced of 10K with self-bias. A 10:1 ratio transformer with a single 12AT7 plate output circuit will yield very nice results.

The 12AT7 has an input capacitance of about 90pf so it will roll out at about the same rate as the capsule's natural roll-off.

To use a 6.5:1 or a 7:1 ratio transformer like the BV8 used in the original U47 or U67 you need a plate impedance of 5-6K.

If you parallel both halves of a "selected" 12AT7 then you can achieve this with the same self noise compared to a perfectly restored U47 or our CM67se.

Its important that the 12AT7 is selected for noise as we measure differences of 16db from one working 12AT7 to the next. I have also seen Chinese tube microphones come across my workbench that specified a 12AT7 but they come with a factory fitted Chinese 12AX7.

Only the venerable old VF14 series can provide the 5-6K low plate impedance because it was designed to run on a lower plate voltage. The VF series of tubes were designed to be used in German military equipment. The VF14 tube came from a series used in the front end of a 2nd World War German tank transmitter that had 8-12 volt batteries in series.

In the U67, Neumann used a EF86 pentode like the VF14, also strapped as a triode.

The EF86 was designed to run from 250 to 300v not the lower battery voltages therefore, the plate impedance is over twice as high.

Even with fixed bias the plate resistance is around 10K. In the U67 the output transformer has a turns ratio of 7:1 or 49:1 impedance ratio.

To be able to use the 7:1 ratio, the clever Neumann engineers use 15db of negative feedback which forced the plate impedance down to that of the VF14.

However, I prefer to stay away from any negative feedback or excessive use of capacitors in our circuits when possible.

Our 2 stage circuit based on a 6072a tube has an input capacitance 1/3 of a 12AX7 and our amplifier response is flat out to past 40khz before it starts to roll-out.

We solved this design dilemna by using a medium gain dual triode 6072a in a 2 stage circuit. The first stage is designed with a voltage gain of 20 so that the input capacitances is down below 30pf. We only require a voltage gain of 20 so no cathode bypass capacitor is required and the front end runs "ultra-linear". The 40K output impedance of the 1st stage is dc coupled (no capacitor) into the 2nd stage which is configured as a cathode follower with a gain of .9. The input impedance of the 6072a at the cathode follower stage is easily 10 times higher than the plate resistance of the first stage.

The cathode follower output stage has an output impedance of 600 ohms with a 6072a fitted which is nearly 10 times lower than the venerable VF14 tube.

No plate resistor or cathode bypass capacitor required in the 2nd stage only a large output coupling capacitor. The cathode follower stage can deliver +30dbu with less than 1% distortion with an output impedance of 600 ohms.

The 6072a tube are exceptionally quiet when selected and have extremely low input capacitance but they cannot be sourced in China.

So, when you see a 12AX7 or a 12AT7 in a "Chinese" made tube microphone its because they are sourcing the tubes in China.

Those 12AX7 tubes will cost less than $1 a tube in lots of 3000 from China.

12AT7 tubes can be sourced in China but not 6072a tubes or EF86 tubes.

Tested and selected 6072a tubes in lots of 250 cost nearly 10 times the price of the Chinese 12AX7 in the same quantities.

If you want to hear the CM67se with our 6072a/CCDA circuit.

Its the microphone of choice for vocals on the new Harry Connick Jr Album

"That Would be Me".

Cheers, Dave
advancedaudiomicrophones


















Quote:
Originally Posted by 3rdstone View Post
As KV stated, I believe they are the same, this is from Isk Pro Audio's site:



Draw your own conclusions, I guess..
Old 15th November 2015
  #1461
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Ragan's Avatar
 

I have a NOS Mullard 12ax7 that I got from Christian (Bowie) after talking to him at length about what I wanted. It made a marked improvement in the otherwise thin and sterile sounding Apex 460 (I have one of the variants, they're marketed under various names.....).

Still not a mic I use much but that 12ax7 added some nice low mid weight and tamed the shrill highs somewhat.
Old 15th November 2015
  #1462
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kidvybes's Avatar
 

...when I sold my iSK TM66/EM T5000 tube mic, it had a beautiful sounding NOS 50's GE triple-mics, black-plate 6201 (12AT7WA) in it...that mic definitely had 47-inspired tone...
Old 15th November 2015
  #1463
Lives for gear
 
TurboJets's Avatar
Quote:
Originally Posted by Ragan View Post
I have a NOS Mullard 12ax7 that I got from Christian (Bowie) after talking to him at length about what I wanted. It made a marked improvement in the otherwise thin and sterile sounding Apex 460 (I have one of the variants, they're marketed under various names.....).

Still not a mic I use much but that 12ax7 added some nice low mid weight and tamed the shrill highs somewhat.
The Apex 460 sounded absolutely terrible to me. I had one modified by Dave Thomas at Advanced Audio and it was the most sterile mic I'd ever heard (no matter what tube I rolled in).

The Psvane tube that iSK Audio ships with the 2B Beauty is a premium quality tube that really sounds hi-fi and the mid forward character is so smooth. I've enjoyed it so much I haven't felt a need yet to even try the 12AT7 upgrade tube I got with it. Nor have I felt it necessary to roll in any of my vintage GE's, RCA's or JAN Philips tubes.
Old 15th November 2015
  #1464
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kidvybes's Avatar
 

Quote:
Originally Posted by deftones View Post
Hi,
I have minimal experience with condensors and I'm looking to get one of the warblers. I'll probably email 3u directly but I wanted to hear opinions on which mic to get. I recorded a soundclip with sm7b as the microphone, no processing done - https://clyp.it/x0iqv3ym Looking for something where I wont have trouble with sibilance or do any drastic EQing. Any help is greatly appreciated! Thanks.
Anyone care to recommend a Warbler variant to suit this forum member's request?
Old 15th November 2015
  #1465
Love my MKIV !

Just did some oasis style vocals - bad ass mic - I love switching between voicings in the middle of creativity

Thank you 3U!
Old 15th November 2015
  #1466
Lives for gear
 
uncle duncan's Avatar
 

Warbler MK1d in cardioid versus Shure SM7b, side by side, through a DAV preamp. At the end I switch to #3 voicing on the Warbler (maximum high end attenuation) and put the foam filter back on the sm7b.
Attached Files

sm7b-vs-warbler MK1d (sm7).mp3 (745.4 KB, 2083 views)

sm7b-vs-warbler MK1d (MK1d)).mp3 (745.4 KB, 2004 views)

Old 15th November 2015
  #1467
Lives for gear
 
uncle duncan's Avatar
 

Warbler MKIV versus Shure sm7b, DAV preamp. At the end I switch to the #3 voicing (max high end attenuation) on the MKIV and replace the foam pop filter on the Shure.

Normally, when I use the sm7b, it's with the Phoenix Audio DRS-1 preamp, which is a sort of magical combination (luscious toobihsness!) but I only have one channel, so I figured I'd run both mics through the DAV to make it a fair comparison.
Attached Files

sm7b-vs-warbler MKIV (sm7b).mp3 (654.2 KB, 1977 views)

sm7b-vs-warbler MKIV (MKIV).mp3 (654.2 KB, 1977 views)

Old 15th November 2015
  #1468
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uncle duncan's Avatar
 

Quote:
Originally Posted by kidvybes View Post
Anyone care to recommend a Warbler variant to suit this forum member's request?
It seems like there's too much low end and too much sibilance in his sample. I wonder if the MKII would work? It's hard to tell without the backing track.
Old 15th November 2015
  #1469
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Ragan's Avatar
 

Quote:
Originally Posted by jesusatemysoup View Post
Anyone have any comparison between the two CM-1s (black and teal) on (preferably sung) vocals? I'm sure a lot of us guys on a budget are trying to make the same decision between the two =p.

I have a rather whiney, belty girly mezzo-tenor voice. Think justin bieber meets musical theater (scary thought.) I'm thinking about picking up the black CM-1; a bit afraid the teal will bring too much nasality/honk into my already bright belty sound. Any opinions? I had a microphone with scooped mids in the past (Bluebird) which I just found myself EQing out (nasal sounding) so I sold it.

The AT4040 is what I'm using at the moment; gets the job done. Can be a bit cold and thin sounding but it works fine. The vocal recordings on the teal have kinda blown me away though! Such a beautiful timbre on a microphone so inexpensive!
I haven't heard the Black CM-1 but it's an 87 style which are known for being nasally and honky on some voices.
Old 15th November 2015
  #1470
Lives for gear
 
kidvybes's Avatar
 

Quote:
Originally Posted by jesusatemysoup View Post
I have a rather whiney, belty girly mezzo-tenor voice. Think justin bieber meets musical theater (scary thought.) I'm thinking about picking up the black CM-1; a bit afraid the teal will bring too much nasality/honk into my already bright belty sound. Any opinions? I had a microphone with scooped mids in the past (Bluebird) which I just found myself EQing out (nasal sounding) so I sold it.
...yeah, as Ragan said, the Black CM-1 is more likely to emphasize any honk in your vocals, while the Teal should really be the opposite...the Bluebird is much more of a "smiley-face" voicing (pic left) than the Teal CM-1 (pic right)...that big 5K bump on the Bluebird is probably your issue there...I'd say start with the Teal...
Attached Thumbnails
Affordable LDC Microphone With Multiple Voicings-0363.png   Affordable LDC Microphone With Multiple Voicings-20140316200870327032.jpg  
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