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That "SWEET SOUL MUSIC" thread!

...that Crystal had or used direct boxes at that time, so the amp was most often captured with a Neumann U47 fet. As the 70s rolled on, we saw less of James. The last time I saw him was probably early or mid-80s, when he came in to try to get some help from...

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Need a new all round high end vocal mic

...but definitely not the same sound. I'm not sure which U47 variant you're looking at, but if it's the U47 FET, most people would reach for something else for vocals (although it can work!). A real vintage tube U47 will be out of budget, but there are some really nice high end clones out...

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Advanced Audio Mics - Anyone have any experience?

That's good news about the CM49! Any recordings of male vocals I can check out? Would you say that the mod adds a lot to that as well?

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Product Description

“The music is made in front of the microphone” – even today, this golden rule has lost none of its significance. In every recording, the microphone thus continues to be an element that defines the sound. The real challenge today lies in making the right choice of microphone. This determines whether “the music in front of the microphone” will be influenced decisively during recording, or whether more of the decision-making will be transferred to the subsequent post-production. It is interesting to note that in the present age of digitalization, in many artistic fields in particular, we are experiencing a renaissance of the analog realm. In photography, for instance, it is the Polaroid photo that is making an unexpected comeback. In music production it is the retro sound of the 1960s and 1970s that is being rediscovered, especially by young musicians. Why is this the case? The distinctive look and individual esthetic of old Polaroid photos are as easily recognizable as the typical sounds of the period. In comparison with modern equivalents, both seem freer, more experimental and often more authentic. Not always technically perfect, they nevertheless convey passion in a particular way. This makes the results unique, less arbitrary, and less readily replaceable than is the case in today’s digital world. Perhaps it is precisely the recollection of these artistic values of the 1960s and 1970s which is the answer to our question. In combination with studio technologies of the present generation, the sound colors from those pioneering days are now introducing experimental possibilities and the freedom required for a new evolution in sound creation. The U 47 fet is an essential contributor to that time. As a secret weapon for recording producers eager to experiment, it was not only a top microphone for soloists, but also decisively affected the spatial dimension of the sound and the tonal depth of countless productions. The good processing of extremely high sound pressure levels, not previously attainable, also permitted the direct miking of loud guitar amplifiers, bass amplifiers and kick drums. This feature, combined with the capsule sound derived from its famous tube-based predecessor, enabled the U 47 fet to contribute to many legendary recordings of the time. It was precisely this newly discovered versatility that was closely associated with the U 47 fet and its characteristics.