Beyerdynamic M201TG

This is one of the "secret weapons" of the audio industry. It's a hypercardioid dynamic, small diaphragm microphone that features very even response with exceptional low frequency extension for a small diaphragm due to its extended range of diaphragm motion and unique diaphragm material, which it shares with the renowned M-88, which also gives it an exceptionally smooth and extended upper register for a dynamic mic..

Although primarily considered an instrument mic it can also be used to good effect on vocals.

This mic is widely used on electric and acoustic guitars, strings, and rack toms, but anywhere you might use an SM-57 this mic is a much better choice.

It is also an extremely rugged mic due to its solid machined brass body (in over 33 years I've only seen one broken one) and is capable of very high SPL.

Used by quality recording studios and sound reinforcement companies throughout the world.

It is true, the M-201 is certainly a secret weapon dynamic mic. It's two best features are that is can take incredibly loud sound pressure levels, and the fact that it has a more linear, sounding response when compared to some dynamics. This becomes apparent when recording vocals or acoustic sources with it, because the results are usually better than you'd expect.

The challenge with the 201, as with most dynamics, is noise. This makes the need for a high quality preamp a factor if quieter sources will be captured. As a matter of fact, this mic is not well suited for quiet sources unless they are up close or a specific effect is desired. In these situations, a higher output dynamic or condenser would be better.

Nonetheless, most professionals would likely place the 201 over a snare drum or in front of an electric guitar cab. This is where the 201 shines and offers something unique in the dynamic world. It captures sources which are common to dynamics with an excellent flare. It just sounds good! It's natural with a vintage vibe, but just the right amount of top end to make the recording cut through. It's pencil shape and small size is also a good thing in tight spots, or when used in a stereo configuration.

The M-201 is well built and sounds great even when compared to more expensive dynamic mics.

I got one second hand included in a with a bunch of gear I was buying from someone downsizing and the person that sold it to me tipped me off that it can be good for a 'grainy' / retro / 70's strumming acoustic guitar sound.

That got my attention immediately as I had been struggling with fitting 'high end' sounding mic'ed acoustic guitars into my indy rock / rock n roll productions. (The acoustic guitar just sound too slick / too good / too "wide range in frequencies"...)

And the guy wasn't wrong! It worked a treat!

I have used it on other sources (like shakers / tambourine etc) but that's my favourite use for it. It works great on strummed Rock n Roll acoustic guitar IMHO.

Its also built like a tank

I own two old "NC" versions of this mic, but one of them is broken, apparently after being soaked with water in a leaking tour bus trailer. Fortunately the haulage company agreed to buy me a new one, so I now have an old "NC" version plus one of the newer "TG" models. They have very slightly different body shapes at the XLR end, but I haven't noticed any difference in sound.

Anyway, these mics are favorites of the BBC, and for good reason: they sound unusually flat and "expensive" for a dynamic mic, and I would probably rate them as the most versatile mics in my collection. There isn't really any source that these won't do a reasonable job on, and there are several situations in which it is very hard to beat.

The most commonly cited is over the top of a snare drum. I usually like the sound of a 201 better than a '57 in this position, and the tight hyper-cardioid pickup pattern can be very useful to exclude noisy hi-hats.

However, I am also very fond of them for toms. In fact they are probably my all-time favorite tom mics, with the only downside being their length which can make them difficult to place on busy drum kits with low-slung cymbals. Plus of course I only have two! I used to run sessions down at our local BBC radio station however, and would usually borrow 3 of theirs for toms... good tip: K&M drum rim clamps work really well with these mics, and can save you a few mic stands from your setup!

If you buy a new one it comes supplied with a foam pop shield for the end: its less commonly known that with this foam end in place the M201 also makes a killer vocal mic, especially for female vox. In fact I've placed a 201 side by side with my Beyer M69 in the past, and the two mics sounded pretty much identical on my voice, and the girls I put them up for. This also helps to explain why the M69 works so well on snare drum...

I've also used my 201s to record speech in noisy situations where condensers couldn't cope: the 201's gave a much cleaner sound, but bear in mind the low output of these mics means they will require a quality pre-amp with lots of quiet gain in this sort of situation.

The flip-side of that is they don't require a pad to cope with very loud sources such as close-micing a snare or a guitar cab... did I mention they sound great on guitar or bass cabs btw? Or horns? How about tablas? Congas? Glockenspiel? Spot mics for orchestral or choir recordings? No worries, these mics can do all the above and more.

I use this mic almost every day in the studio on the Snare. You can use it for anything you would use an SM57 for. Think of it as a more expensive but much better sounding SM57. If you're recording bands and drums, try one out! You'll like it. If you're just doing electronic music and not recording drums and/or electric guitars, perhaps you don't need one.

What more can be said about this mic?
It's a great workhorse mic, and extremely hi-fi for a dynamic.

Good, solid build, like all Beyer mics, and it's appearance belies what the mic is capable of. I see a lot of people suggesting things like the audix i5, and the new Heil mics...not to mention the Shure SM7, and I feel like this (and all Beyer mics) frequently gets overlooked.

In short, anywhere you might think to use the Shure sm57 (or any of the mics mentioned above), you should try this mic in it's place, at least to see what it brings to the table. In a lot of cases, the 57 works great because of it's resonant sounding 'peakiness" in the upper mids, great for rock snare etc.

That said, in cases where you want the snare to sound more like the actual snare drum, but maybe not have quite the sensitvity of a condenser, this is where it's at. This mic still retains the weight of a dynamic, most of the "punch" of a 57, but has smoother top and bottom response, almost like a small diaphragm condensor, but seems to have better rejection.

Great for r&b snare, jazz, and good for rock, especially in rock genres in which definition and fidelity are held in high regard, such as prog, and some acoustic rock or folk. Takes eq well, and can take a pretty huge dose of compression / limiting before your tone "falls apart". So, punching it up in a dense mix, or making it cut is not an issue.

Other things I have found this mic to work well on, are congas, and in general most percussion instruments. Toms A+

Guitar and bass cabs? Check.

I have been using this mic in combination with an LDC on guitar cabs, dirty and clean now for years. It is nice to not have that peak that a 57 gives you in the high mids on really distorted, hi gain tones. For that matter, it's nice not to have it on a lot of clean tones either, say a Tele or Strat via fender amp, with a lot of snappy transients. Nice and smooth, not hyped sounding. I know I keep saying this, but it really does sound like a condenser mic, but without the things in the top end that would sometimes make a condensor not a good fit.

If you are bord with the 57, or 421 sound, before you drop $1k on a ribbon, give this mic a shot.

On acoustic gtr, it is a good choice for very thin sounding modern instruments, manufactured to cut through live. Brings the solidity to the sound, without the over jangly top. Mix to taste with a small or large condenser, and is often better to my ears than most ribbons.

Anyway, one of the best bang for the buck mics out there, and although I haven't done a direct comparison, I bet it would work just as well as an SM7 on vocals too.

This mic doesn't get enough love around here, and it ought to.

Can you tell I like them?

Peace,
john

Well built.

Crisp

Responsive

Non = Pasteurized.

Buy it, dont sell it.

Really great for Snare and Care Bear takes.

I love using this for a corner mic on drums..
Even good to grab some room tones..

Guitar ACcoustic anyone"?

My menu eates like a sandwich