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The Mics You have Dumped, and Why...
Old 13th August 2019
  #211
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Quote:
Originally Posted by philper View Post
thx - haven't seen those yet!

(they seem to enlarge the 'footprint' of the already clumsy mic though - i hope these mounting devices do not produce any resonance or move inside the mic clips? how soft or sturdy are these?)

i usually simply tape the mic/clip when using it in a critical position...



p.s. i'm not gonna dump my 421's: i use them on toms occasionally but more often on leslie, guitar cabs, horns/saxes etc.
Old 13th August 2019
  #212
Quote:
Originally Posted by deedeeyeah View Post
and then there is terry bozzio!
I remember those drums back when I lived in LA. Terry had SM57 elements mounted inside each drum with an XLR connector mounted to the shell. The snare drum had two of them, one pointing up, the other pointing down.

Sounded like crap to me.
Old 13th August 2019
  #213
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Quote:
Originally Posted by Jim Williams View Post
I remember those drums back when I lived in LA. Terry had SM57 elements mounted inside each drum with an XLR connector mounted to the shell. The snare drum had two of them, one pointing up, the other pointing down.

Sounded like crap to me *.
* not only to you! :-) which is a shame as terry is one of the very rare drummers who has a sound one can immediately identify and as an engineer does not need to tweak; very rare imo (but a topic for another thread/forum)...

in later years/looong after zappa/missing persons/uk but occasionally with jeff beck (at least for one large tour) and in the following years, he got into solo drum performances (mainly sponsored by the drum and cymbal companies) - by then he got an incredible drum kit (see pic) that could not get amplified by using close mics on toms: i did lots of shows with him and used mics on nothing but kick drums, the snare drum and a single overhead (or occasionally l/c/r) - lots of fond and funny memories! he had an akg endorsement in the nineties and hence that's what i (mostly) used on his kit.

still a heck of a musician and a very nice bloke: i wish he'd get hired to play rock'n'roll more often!



p.s. did you get to engineer some of zappa's shows or were you in charge of (some of) his gear?
Attached Thumbnails
The Mics You have Dumped, and Why...-proxy.duckduckgo.com.jpg  
Old 13th August 2019
  #214
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emrr's Avatar
Neumann KM140's. Need distance and I'm usually free field. Like the lower midrange quality a lot.

Shure SM81's. Kinda hard sounding, if I recall.

Earthworks TC30K's. Way too noisy and didn't work with any transformer coupled input; not even with a Jensen splitter transformer hung off the line.

AKG C3000. Don't even remember. Wasn't enamored.

Crown SASS-P MKII. Cool for some things, but not one I'd use often. Went to a nature recordist, where they are more popular. Pretty crispy sounding.

Nakamichi CM300's. Batteries were a pain. Don't recall them sounding exceptional in any way.
Old 13th August 2019
  #215
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boojum's Avatar
Passed on a pair of Peluso CEMC-6's. Bought them used, and used them once or twice and was not impressed. Gave them to a board member whose mic locker was as empty as their wallet.

Last edited by boojum; 13th August 2019 at 09:47 PM..
Old 13th August 2019
  #216
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Smile

Quote:
Originally Posted by emrr View Post
Neumann KM140's. Need distance and I'm usually free field. Like the lower midrange quality a lot.

Shure SM81's. Kinda hard sounding, if I recall.

Earthworks TC30K's. Way too noisy and didn't work with any transformer coupled input; not even with a Jensen splitter transformer hung off the line.

AKG C3000. Don't even remember. Wasn't enamored.

Crown SASS-P MKII. Cool for some things, but not one I'd use often. Went to a nature recordist, where they are more popular. Pretty crispy sounding.

Nakamichi CM300's. Batteries were a pain. Don't recall them sounding exceptional in any way.
The original SASS design used B&K 4006 mics,
you might have kept that one. ;-)
Old 14th August 2019
  #217
Here for the gear
 

AKG 480B - Sorry I did. A slight veil due to the ULSB preamp but the benefits outweigh that which most people cannot identify. They hold up in almost any environment and very realistic representation. Microphone preamp choice influences the mic very much. Will buy again.

Crown SASS-P MKII. - Another mic I both sold and still have (including 2 brand new in sealed box). Very beautiful stereo image and perfect for effects, nature, environmental and outdoor acoustical. In a perfect hall, it’s glorious. In a crap room it is horrible.
Old 14th August 2019
  #218
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Quote:
Originally Posted by deedeeyeah View Post
thx - haven't seen those yet!

(they seem to enlarge the 'footprint' of the already clumsy mic though - i hope these mounting devices do not produce any resonance or move inside the mic clips? how soft or sturdy are these?)

i usually simply tape the mic/clip when using it in a critical position...



p.s. i'm not gonna dump my 421's: i use them on toms occasionally but more often on leslie, guitar cabs, horns/saxes etc.
Diggin' 'em. Nice not having to worry about the stock clip failing in the first light breeze that comes along. I had sort of stopped using my 421s since they kept doing the clip-drop thing, now they can be deployed with confidence.
Old 14th August 2019
  #219
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tourtelot's Avatar
OH. I forgot the Rode Classic. ****e! Neumann KMR82. Ugh!

Sold my two Sennheiser MKH816s to Peter F. I can only guess what he wanted two old movie mics for

Funny story about that. I had them on eBay for a reasonable cost and somehow, this crazy bidding war erupted. I didn't know who the buyers were of course but Peter finally won them. I cancelled the sale because I was totally convinced that he was a scammer. Lots of money! Much more than they were worth. By maybe four times! He was convinced I had a shill bidding to force the price up. We finally settled on a private deal for a reasonable price. Never had any idea who the other bidder was. OMG!

By the way, those mics in the hands of a talented boom operator (Misty Conn) were unstoppable. Who needed radio mics? In less capable hands, not so much. Put one of those in a Rycote with a dead cat at the end of a twenty-foot pole. Yowser! She was (and still is) the bomb! Radio mics really came into fashion and there was no need for the MKH816s any more. Sad day.

D.

Oh and sold two MKH416 T-power before I knew about Pete Verrando, but, fortunately, kept two pair of Schoeps CMC4 T-power. Now they are P48. He does good work too.

Wish I had those MKH416s back.
Old 14th August 2019
  #220
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emrr's Avatar
Quote:
Originally Posted by Folkie View Post
The original SASS design used B&K 4006 mics,
you might have kept that one. ;-)
Yep! I've never seen one of that version.
Old 14th August 2019
  #221
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Quote:
Originally Posted by Jim Williams View Post
I remember those drums back when I lived in LA. Terry had SM57 elements mounted inside each drum with an XLR connector mounted to the shell. The snare drum had two of them, one pointing up, the other pointing down.

Sounded like crap to me.
Maybe the 'snare DI approach" might have worked ?
Attached Thumbnails
The Mics You have Dumped, and Why...-snare-mic.jpg  
Old 14th August 2019
  #222
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Quote:
Originally Posted by emrr View Post
Yep! I've never seen one of that version.
The original (long discontinued) SASS-B was a SASS
housing into which you inserted a pair of 4006’s.
I heard an album by a small women’s vocal group,
Anima, that was recorded in a church with just
a SASS-B and it sounded great.
The SASS-P MKII includes less expensive capsules.

Last edited by Folkie; 14th August 2019 at 03:37 PM.. Reason: error
Old 14th August 2019
  #223
Gear Addict
 

Quote:
Originally Posted by jnorman View Post
neumann tlm103s - horrible in every way, i truly hated these mics

The first that came to my mind. I bought it when they first shipped, as there were no other quality large diaphragm condensers on the market at the time. Nice high output and low s/n. Has top and bottom but a mid thats oddly blurry. It never beat any other mic out in comparisons. It has character that I can only describe as "bleh". Not flat, not true, just bleh. Worse bleh than any cheap mic I have.
Old 14th August 2019
  #224
[QUOTE=deedeeyeah;14147161still a heck of a musician and a very nice bloke: i wish he'd get hired to play rock'n'roll more often!
p.s. did you get to engineer some of zappa's shows or were you in charge of (some of) his gear?[/QUOTE]

I was the guy that wired all his guitars with on-board active electronics. That was 1977. You can hear them on all his records and Dweezil plays them now, they all still work. I also did some studio work on his gear, hot-rodded it.

Terry and Patrick O'Hearn would often stop by Rex Bogue's place in the San Gabriel Valley. I also wired up the basses too and Ray White's Tele and Ike Willis' Explorer. Those guys would suck up 1 foot long lines of coke in one sweep. They also would never smoke any pot, never.

I asked them both why one day and got the same answer: "Frank will KNOW"!

I never could figure that out when their noses were dripping for a week. We call those "The days of lines and noses".

Last edited by Jim Williams; 4 weeks ago at 05:10 PM..
Old 14th August 2019
  #225
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tourtelot's Avatar
Quote:
Originally Posted by Jim Williams View Post

I asked them both why one day and got the same answer: "Frank will KNOW"!
Oh. Good story!

D.
Old 14th August 2019
  #226
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Quote:
Originally Posted by tourtelot View Post
Oh. Good story!

D.
...and there was Frank writing 'Cocaine Decisions' about his management people....
Old 14th August 2019
  #227
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tlm103's wanted

all the tlm 103 haters: make me an offer, i could need a few more!
Old 14th August 2019
  #228
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
all the tlm 103 haters: make me an offer...
You're addressing people who dislike them but still own them? How many can there be?
Old 14th August 2019
  #229
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Quote:
Originally Posted by deedeeyeah View Post
all the tlm 103 haters: make me an offer, i could need a few more!
And me too!

And I still pull out the KMR82 once in awhile. In a good boomist's hands it was nearly the reach of an 816 but without the ear-splitting hi-end.
Old 14th August 2019
  #230
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Quote:
Originally Posted by Brent Hahn View Post
You're addressing people who dislike them but still own them? How many can there be?
not that it seems logical but i remember reading a few comments in other threads which stated exactly this...
Old 14th August 2019
  #231
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tourtelot's Avatar
Quote:
Originally Posted by philper View Post
In a good boomist's hands it was nearly the reach of an 816 but without the ear-splitting hi-end.
Funny. I thought the 82 was dull and tubby. That 816 high-end was what pulled the dialog out of all the crap that was going on all around it. I remember a beach walk and talk. She boomed it from the sea-side of the walk and the dialog made it into the picture untouched. Just enough booming surf to place the action but nice crisp dialog that didn't need to be processed. Well before the days of Rx.

D.
Old 14th August 2019
  #232
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Quote:
Originally Posted by tourtelot View Post
Funny. I thought the 82 was dull and tubby. That 816 high-end was what pulled the dialog out of all the crap that was going on all around it. I remember a beach walk and talk. She boomed it from the sea-side of the walk and the dialog made it into the picture untouched. Just enough booming surf to place the action but nice crisp dialog that didn't need to be processed. Well before the days of Rx.

D.
I hated the sound of the 816. It was a Hail Mary choice for us, only. The 82 was the Stradivarius of my star boomist forever, Gary Dowling. He wanted it on nearly every shot we did, inside and out. I stopped arguing about the interiors since he could pull off scenes with the 82 that I would be sure we'd have to do with multi-lavs. I did ok with it on my own, and I liked how it cut with interiors done with MK41s.
Old 14th August 2019
  #233
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tourtelot's Avatar
I totally get it. I think we go for what works for each of us. Sometimes we try other things and for whatever reason, they just don't quite cut it. The 82 was like that for me. Couldn't stand the sound of it. Same with the MK18x series. Ugh! They colored all my Neumann experiences until I tried a pair of TLM170s. Like them pretty well Sometimes we try something new and get blown outta the water. I was a diehard Schoeps Mk41 user for interiors for freakin' ever. Then I tried a Sennheiser MKH50 and went, "WTF"? I thought it was light years a better interior dialog mic. Never went back to Schoeps for dialog except in cars and under tight ceilings where the Schoeps swivel made those shots possible.

YMMV

D.

Also have a pair of KM140s that live in my AKS case for, like, if I completely, accidentally, leave the shop with no mics They almost never get used but they sound okay.
Old 4 weeks ago
  #234
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James Lehmann's Avatar
 

OUT (i.e. dumped):
  • Brauner Phantom (too bright for my taste)
  • Beyerdynamic M88TG (too dark for my taste, just not for me)
  • Microtech Gefell M300 x 2 (had to sell something in a hurry - didn't want to let these go but replaced them with CM4s)
  • Shure SM7B (liked it but bulky form factor too impractical for live work - replaced by more versatile MD-441)
  • Avenson STO-2 (great little omnis that served me well for years, eventually replaced by M296 albeit at 5 x price!)
  • Audio Technica 4040 (don't get me started on this one)
  • AKG C3000 (all I could afford at the time when I started out)
  • AKG C1000 x 2 (ditto)
  • Beyerdynamic M160 (had to sell, will probably buy a pair again when funds permit)
  • Beyerdynamic M130 (never really got on with it, needs re-ribboning)

IN (i.e. not dumped):
  • Microtech Gefell M296 x 2
  • Microtech Gefell M930
  • Sennheiser MD-441
  • Line Audio CM4 x 2
  • Beyerdynamic M201
  • AKG C414-XLS
  • Shure SM57/58
  • Shure Beta 52A
I do a mixture of both live and studio recording so for me it's all about reducing down to a practical, portable mic locker that works well without compromise in both contexts.

Quote:
Originally Posted by tourtelot View Post
I think we go for what works for each of us.

Sometimes we try other things and for whatever reason, they just don't quite cut it.
This ^^

I've 'dumped' my fair share of mics over the years but for one reason or another they haven't quite nailed it for me, for what I record, and for the way I work. In an ideal world I'd probably have kept most of them and not needed to sell stuff on but needs must occasionally, as I'm sure is the case for most of us.

I don't regret any of my erstwhile purchases (well, perhaps the C3000 but there were relatively few LDCs around at that price at the time); some mics I've had a lot of great use out of (e.g the Avensens) and others I've tried out and moved on after hearing what they can or can't do for me (e.g. M88TG).

All part of the learning curve!

Last edited by James Lehmann; 4 weeks ago at 07:01 PM..
Old 4 weeks ago
  #235
Gear Maniac
 

AKG D12E

I got one as part of a package (with some SM57s) from a drummer who had switched to a Simmons kit (it was back in the '80s!). I think that in the almost 10 years I owned it, I only found ONE kick drum that it actually sounded good in. My usual go to mic back then was an RE-20, so maybe I just expected more (some?) top end.

My business is skewed towards live sound rather than recording, so that might influence my choices somewhat too.

I did use it for the trombone player who, before he even played a note and listened to anything, said "turn the top end on my channel down all the way". I was a bit miffed at that, so decided to use the mic that had no top end to start with.

I eventually let it go with some other gear that went into a club install, and have never regretted it.

Various AKG, E-V and A-T dynamic vocal mics.

They were all touted as "SM58 killers", but none really lived up to the hype. The closest were some first generation E-V N/DYM mics, but they started failing one by one, and I just replaced them with more 58s (SM and Beta).

Sennheiser MD421 (and the MK II version).

I had a set of these for toms, guitar amps and saxophones and really liked the sound of them. But they took an awful beating on the drums, and then they started failing too (losing all the low end). Replacement capsules were available for the originals, but at almost the same cost of a new mic. I kept a couple for "light duties" and traded two more to the radio station where I worked for a couple RE-20s (We were in process of switching over the announce mics. Everybody was happy with that deal.), and bought MD504s (the precursor of the current e604) for drum mics.

However, lately I've been liking the 421s in a lot of kick drums, and just bought a couple used MK II versions to augment the collection. I may regret this.

Geoff
Old 4 weeks ago
  #236
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tourtelot's Avatar
Quote:
Originally Posted by cbc6403 View Post
AKG D12E


Sennheiser MD421 (and the MK II version).

I had a set of these for toms, guitar amps and saxophones and really liked the sound of them. But they took an awful beating on the drums, and then they started failing too (losing all the low end).
However, lately I've been liking the 421s in a lot of kick drums, and just bought a couple used MK II versions to augment the collection. I may regret this.

Geoff
First of all, 1) the v.2 don't sound anything like the original, and 2) drummers beat the snot outta them. Come on now. You have control over your drum sticks right? I guess not.

D.
Old 4 weeks ago
  #237
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tourtelot's Avatar
I sold two MD441, consecutive serial numbers, in the '80s sometime. One of my regrets.

D.

Last edited by tourtelot; 4 weeks ago at 04:21 PM..
Old 4 weeks ago
  #238
Super Moderator
 
Remoteness's Avatar
I have 13 (one white; one grey; 11 black) MD421s and one MD421MKII.

I use the MD421MKII as a test or talkback mic, since it doesn't sound anything like my original MD421 mics. There's no way you could use a MD421 and a MD421MKII as a stereo pair or to mic similar instruments when you're going for the same sound in both mics.



Quote:
Originally Posted by tourtelot View Post
I sold two MD421, consecutive serial numbers, in the '80s sometime. One of my regrets.

D.
Old 4 weeks ago
  #239
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tourtelot's Avatar
Sorry all, I need to edit my post. I sold two MD441s in the 80s. Now that really IS a regret.

D.
Old 4 weeks ago
  #240
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edva's Avatar
I dumped all of my 57's and 58's, except for one example of each, selected by ear as best of the lot.
I dumped a stock pair of Fathead ribbon mics. They were a good introduction to the care and use of ribbons, but once I heard better mics, they were gone.
I dumped a Rode NT4 stereo mic. Not a bad mic, but I got a Nevaton, and there is literally no comparison.
I dumped a pair of cheap CAD LDC's, from way back, don't remember the model number. They were actually pretty decent, I gave them to someone I was mentoring.
On that note, I have given away various other decent mics to mentees from time to time, (along with other bits). Just seems like the right thing to do sometime (imagining myself in their shoes).
Sold a pair of AT 4041's, then eventually bought a new one. For an inexpensive mic, they are excellent on bass sources.
Sold one of my two AT 4033's. It's an OK mic, but not right for stereo mic'ing, IMHO.
There were a few more, if I remember them I'll edit and add to the post.
(I just use the word "dumped" because that is the thread title. Microphones generally deserve more respect than that term infers, as do the new owners who hopefully get good use out of them. IMHO. Good thread though).

Last edited by edva; 4 weeks ago at 07:38 PM.. Reason: +
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