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Warm Audio 47 vs Telefunken CB-29 Copperhead: Best mic for a PRO Vocal Sound
Old 4th April 2018
  #1
Warm Audio 47 vs Telefunken CB-29 Copperhead: Best mic for a PRO Vocal Sound

The title is self explanatory. The WA-47 is created after the Neumann, and the CB-29 doesn't clone anything in particular but it is there in the vintage ELAM251 (a bit darker) - U47 - U67 territory...

From all the clips that I have heard, the WA-47 sounds a little bit less 3D, has a bit less depth to its sound, and doesn't hide so well the small "deffects" of a vocal performance, but the Copperhead handles this very well and flatters any voice every single time.... when I listen to the Copperhead I feel like: "this is a finished pro vocal, it has mojo", but not when I listen to any other contender sub-2.000$.

If the Copperhead was 3.000$ it wouldn't surprise me, as its sound and finish construction seems to be up there with the high end mics (the high end mics that Telefunken themselves make, actually), but the WA-47 looks cheaper (materials / finish, tolerances), and the sound that I have heard from it so far is very good, but lacks some magic to me, and "magic /depth / 3D / finished feel" is what I am looking for.

As you can see I am already leaning towards the Copperhead (I only want it for Male Vocals - alternative, folk, soul, jazz.. -), but maybe I am missing something, or you can share your experiences with these 2, or introduce a 3rd model that is worth checking out, for a tube condenser mic for male vocals?

I don't have a chance to try any mics were I live, so I hope to get the feeling from your answers.

The vocal chain has good preamps, comps, converters, all along, so that won't be a problem.
Old 4th April 2018
  #2
I recently bought the WA47. So far I've used it on Acoustic guitar, Mando, female and male vocals. My chain was the WA12 <WA76<Audient id22 bypassing the Audient's pre. I don't find the construction of the mic to be cheap at all. It's heavy and solid. I love this mic, especially on vocals, both male and female. I hate describing sound eg; warm, fat, thin, lol. I use my studio primarily for our Country/Americana band. I also own the WA14 which is a completely different sounding mic. I feel safe in describing the WA14 as darker than the WA47.
Old 4th April 2018
  #3
JAT
Lives for gear
I've found that in the end, the WA47 is a very good mic. Pile up a few tracks with it and everything stays separate and discrete and your song won't be negatively affected. And it does have nice saturation when driven which can be really sweet. Too be honest, I haven't tried the copperhead tho a friend has one he uses sometimes when nothing else is working.

I've heard the difference you talk about between the Warm and a multi-thousand dollar mic, the 3D and depth. And it is certainly worthwhile, but if you don't have $2000 or more the Warm is still a great mic. Even the Copperhead is $400 more expensive than the Warm, about half again as much. I'd rather have a Neumann original but the Warm works, too, to my ears.
Old 4th April 2018
  #4
A Lauten Audio LA320 has as much or more U47 vibe as clips I've heard of the WA47.
Old 4th April 2018
  #5
I’d like to watch an extensive shootout with vocalists and acoustic guitar with these mics (wa-47, U47, Copperhead and the newer Stam Audio -if it ships some day) I actually emailed Joshua from Stam to buy the SA-47 but he didn’t reply so this and the lack of youtube videos or samples made me look somewhere else, although I am sure it will be nice.

There was a shootout from Vintage Gear in 2015 that I can’t find anywhere now that I’d like to watch with a bunch of these mics.
Old 5th April 2018
  #6
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Helge's Avatar
 

Since I´m on the same quest and you asked for a 3rd model - the ISK Pro Audio 2b-beauty clips I´ve heard sound very nice and it´s on my list as a budget-friendly contender.
Old 5th April 2018
  #7
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by Helge View Post
Since I´m on the same quest and you asked for a 3rd model - the ISK Pro Audio 2b-beauty clips I´ve heard sound very nice and it´s on my list as a budget-friendly contender.
That mic sound much better than its price tag implies.
Old 5th April 2018
  #8
I've tried and owned both and IMO, the Copperhead is one of the best vocal mics around. I prefer using the Telefunken tube but that's just a matter of taste.
Still own the Copperhead and sold the WA47, it just didn't sound very good on my voice but there's plenty of folks that really like it. We tried at least 2 dozen mics in the under $2K range and the Copperhead was a keeper from the first listen.
Old 5th April 2018
  #9
Quote:
Originally Posted by RKeefe1032 View Post
I've tried and owned both and IMO, the Copperhead is one of the best vocal mics around. I prefer using the Telefunken tube but that's just a matter of taste.
Still own the Copperhead and sold the WA47, it just didn't sound very good on my voice but there's plenty of folks that really like it. We tried at least 2 dozen mics in the under $2K range and the Copperhead was a keeper from the first listen.
The telefunken tube is the one they don't have anymore, right? They say it is quite the same in the end... does it change the overall sound or not enough to notice?

Now I am curious which are these other 22 mics that you tested and your top 5 list.

Essentially I want to know if anyone here (it seems you do) resonates with my description about what I feel when I listen the CU-29 that I find rare in this price range (the depth, 3D, magic, and these other words that quite often define the 5% difference between quality products and high end products).
Old 6th April 2018
  #10
Quote:
Originally Posted by ttattwa View Post
The telefunken tube is the one they don't have anymore, right? They say it is quite the same in the end... does it change the overall sound or not enough to notice?

Now I am curious which are these other 22 mics that you tested and your top 5 list.

Essentially I want to know if anyone here (it seems you do) resonates with my description about what I feel when I listen the CU-29 that I find rare in this price range (the depth, 3D, magic, and these other words that quite often define the 5% difference between quality products and high end products).
The GE tube is fine, we're talking a slightly different tone but nothing to do with the 3D nature of the sound. You can usually pick up a Telefunken tube on Ebay for around $50, I think it's labeled AKS (could be wrong).

My personal favorites in this price are the Violet Design Amethyst, Emerald LE, , and Soundelux U195. In tube mics the Blue Rocket Stage 2 (especially with the B6,B8, and VD67 capsules), Pearlman TM1, and of course, the Copperhead. I also liked the Slate VMS system for lead vocals.

There's obviously a lot to choose from and I didn't get a chance to hear the 3U GZ251 which is quite popular here and in a big minority, I liked the AKG 414 III on my vocals. I still think the Copperhead would be a good choice and my "go to", all things considered. If I was starting this search over again, it's what I'd buy, just my taste of course.
Old 6th April 2018
  #11
Gear Nut
Quote:
Originally Posted by ttattwa View Post
I’d like to watch an extensive shootout with vocalists and acoustic guitar with these mics (wa-47, U47, Copperhead and the newer Stam Audio -if it ships some day) I actually emailed Joshua from Stam to buy the SA-47 but he didn’t reply so this and the lack of youtube videos or samples made me look somewhere else, although I am sure it will be nice.

There was a shootout from Vintage Gear in 2015 that I can’t find anywhere now that I’d like to watch with a bunch of these mics.

Hey!

There's actually SA-47 demo on YouTube:

Old 7th April 2018
  #12
Lives for gear
 
Will The Weirdo's Avatar
Quote:
Originally Posted by ttattwa View Post
The telefunken tube is the one they don't have anymore, right? They say it is quite the same in the end... does it change the overall sound or not enough to notice?

Now I am curious which are these other 22 mics that you tested and your top 5 list.

Essentially I want to know if anyone here (it seems you do) resonates with my description about what I feel when I listen the CU-29 that I find rare in this price range (the depth, 3D, magic, and these other words that quite often define the 5% difference between quality products and high end products).
No stress on tubes, there are some high grade monophonic NOS Telefunken made tubes out there, they are just AEG labeled. I picked up 8 last year for my Rm2J and they use the same tube as the CU-29.
Old 7th April 2018
  #13
Gear Maniac
 

Quote:
Originally Posted by ttattwa View Post
The title is self explanatory. The WA-47 is created after the Neumann, and the CB-29 doesn't clone anything in particular but it is there in the vintage ELAM251 (a bit darker) - U47 - U67 territory...

From all the clips that I have heard, the WA-47 sounds a little bit less 3D, has a bit less depth to its sound, and doesn't hide so well the small "deffects" of a vocal performance, but the Copperhead handles this very well and flatters any voice every single time.... when I listen to the Copperhead I feel like: "this is a finished pro vocal, it has mojo", but not when I listen to any other contender sub-2.000$.

If the Copperhead was 3.000$ it wouldn't surprise me, as its sound and finish construction seems to be up there with the high end mics (the high end mics that Telefunken themselves make, actually), but the WA-47 looks cheaper (materials / finish, tolerances), and the sound that I have heard from it so far is very good, but lacks some magic to me, and "magic /depth / 3D / finished feel" is what I am looking for.

As you can see I am already leaning towards the Copperhead (I only want it for Male Vocals - alternative, folk, soul, jazz.. -), but maybe I am missing something, or you can share your experiences with these 2, or introduce a 3rd model that is worth checking out, for a tube condenser mic for male vocals?

I don't have a chance to try any mics were I live, so I hope to get the feeling from your answers.

The vocal chain has good preamps, comps, converters, all along, so that won't be a problem.

I actually just picked up a Copperhead last week, got a great deal on a mint secondhand one, it has the original Telefunken 6AK5 tube.

All the comments about pleasant mid range, low sibilance, smooth high end and full bodied natural sound are very accurate in summing it up. It is very Neumann like and I read a comment suggesting it is somewhere between a 251 and a 47 which is also really spot on.

I found this shootout online which is fantastic, downloaded all the WAV’s and listened very closely. It’s got a virtually identical character/tone to the $10k ELA M 251 (and the AR51) but the 251 is slightly brighter and slightly more present/airy - if you listen to the guitar or piano and vocal clips, the instruments sound the same but the vocal on the 251 sits out a bit with a hint more brightness and airiness. So given the 251 is known to be a slightly brighter mic, my impression was the Copperhead is basically a warmer sounding 251...47 like. A fantastic sounding mic I think!

Telefunken Mic Comparison - Telefunken 251e, AR-51, CU-29 Copperhead Mics

I also just posted a side by side comparison of the Copperhead and my Mojave MA-200 on this thread. The Copperhead makes the Mojave sound a bit thin and lacking body.

At the moment I also have a SM7B, Slate VMS, KM84 if you’d be interested in comparisons of the CU29 to any of those!

Telefunken CU-29 Copperhead vs. Mojave MA-200/MA-300
Old 7th April 2018
  #14
Totally agree on the above comments on the Copperhead, a really good vocal mic with a hybrid sound between the 251 and 47. I also found it takes EQ really well and on some vocalists you have to HPF the low end and boost the high freqs depending on their mic technique. You can get a used, mint condition mic in the $950 - $1K range, one of the best bargains out there.
Old 7th April 2018
  #15
Quote:
Originally Posted by hasntbeen View Post
I actually just picked up a Copperhead last week, got a great deal on a mint secondhand one, it has the original Telefunken 6AK5 tube.

All the comments about pleasant mid range, low sibilance, smooth high end and full bodied natural sound are very accurate in summing it up. It is very Neumann like and I read a comment suggesting it is somewhere between a 251 and a 47 which is also really spot on.

I found this shootout online which is fantastic, downloaded all the WAV’s and listened very closely. It’s got a virtually identical character/tone to the $10k ELA M 251 (and the AR51) but the 251 is slightly brighter and slightly more present/airy - if you listen to the guitar or piano and vocal clips, the instruments sound the same but the vocal on the 251 sits out a bit with a hint more brightness and airiness. So given the 251 is known to be a slightly brighter mic, my impression was the Copperhead is basically a warmer sounding 251...47 like. A fantastic sounding mic I think!

Telefunken Mic Comparison - Telefunken 251e, AR-51, CU-29 Copperhead Mics

I also just posted a side by side comparison of the Copperhead and my Mojave MA-200 on this thread. The Copperhead makes the Mojave sound a bit thin and lacking body.

At the moment I also have a SM7B, Slate VMS, KM84 if you’d be interested in comparisons of the CU29 to any of those!

Telefunken CU-29 Copperhead vs. Mojave MA-200/MA-300
Thank you! That's very useful. I will check your audios later on. I do have the SM7B, and I like it to mic guitar cabs and for a boxy compressed vocal sound but whenever I try to have some more natural, mild , airy, soft vocals, like on a soul / r&b song (most of the time, actually), it doesn't deliver to me, I find it very over-compressed, focused, and without the clarity and natural breath that all condenser mics have, there is no top end, it is too punchy and not natural at all, it actually accentuates any hint of nasal voice, that's why I am looking for the best posible condenser mic, as I believe it will be a huge change. The CU29 is the only one that sounds really high end to me at this price range, not just a "good for the price" mic, but an excellent mic even compared to the 10.000$ mics. So if you can share a comparison between the CU29 and the SM7B (specially on vocals, acoustic guitars, electric guitars...) , that would be awesome.
Old 9th April 2018
  #16
Gear Maniac
 

Quote:
Originally Posted by ttattwa View Post
Thank you! That's very useful. I will check your audios later on. I do have the SM7B, and I like it to mic guitar cabs and for a boxy compressed vocal sound but whenever I try to have some more natural, mild , airy, soft vocals, like on a soul / r&b song (most of the time, actually), it doesn't deliver to me, I find it very over-compressed, focused, and without the clarity and natural breath that all condenser mics have, there is no top end, it is too punchy and not natural at all, it actually accentuates any hint of nasal voice, that's why I am looking for the best posible condenser mic, as I believe it will be a huge change. The CU29 is the only one that sounds really high end to me at this price range, not just a "good for the price" mic, but an excellent mic even compared to the 10.000$ mics. So if you can share a comparison between the CU29 and the SM7B (specially on vocals, acoustic guitars, electric guitars...) , that would be awesome.
Quote:
Originally Posted by ttattwa View Post
Thank you! That's very useful. I will check your audios later on. I do have the SM7B, and I like it to mic guitar cabs and for a boxy compressed vocal sound but whenever I try to have some more natural, mild , airy, soft vocals, like on a soul / r&b song (most of the time, actually), it doesn't deliver to me, I find it very over-compressed, focused, and without the clarity and natural breath that all condenser mics have, there is no top end, it is too punchy and not natural at all, it actually accentuates any hint of nasal voice, that's why I am looking for the best posible condenser mic, as I believe it will be a huge change. The CU29 is the only one that sounds really high end to me at this price range, not just a "good for the price" mic, but an excellent mic even compared to the 10.000$ mics. So if you can share a comparison between the CU29 and the SM7B (specially on vocals, acoustic guitars, electric guitars...) , that would be awesome.
No problem! I’m the same, I use the SM7B on guitar cabinets and only occasionally on vocals, I think generally I’d try record with a natural vocal sound and add some coarseness to it after, but I haven’t recorded much rock music which I hear the SM7B is ideal for.

Here’s a couple comparisons between the SM7B and Copperhead. Same performances through MA5 pres at 55db and 35db respectively (a little extra volume added in the box to the SM7B). Then through a bypassed compressor. Just in my control room so there’s a bit of room sound too.


Voice

SM7B
https://app.box.com/s/u781b1xtyzwe4b4t07t8q0ml2tlz2g9g

Copperhead
https://app.box.com/s/bqkjlegz20t1pcru9mpqhvv6g6rgxiks

Acoustic guitar

SM7B
https://app.box.com/s/a94rfhrniy9fpbi3q8fpixk1ivmrz7eu

Copperhead
https://app.box.com/s/mclmssjcyp1hnh47kehj6rq1nsh3i8fn
Attached Thumbnails
Warm Audio 47 vs Telefunken CB-29 Copperhead: Best mic for a PRO Vocal Sound-5c1a61e1-a876-437a-8dcb-0706467ebeaf.jpg  
Old 9th April 2018
  #17
Quote:
Originally Posted by hasntbeen View Post
No problem! I’m the same, I use the SM7B on guitar cabinets and only occasionally on vocals, I think generally I’d try record with a natural vocal sound and add some coarseness to it after, but I haven’t recorded much rock music which I hear the SM7B is ideal for.

Here’s a couple comparisons between the SM7B and Copperhead. Same performances through MA5 pres at 55db and 35db respectively (a little extra volume added in the box to the SM7B). Then through a bypassed compressor. Just in my control room so there’s a bit of room sound too.


Voice

SM7B
https://app.box.com/s/u781b1xtyzwe4b4t07t8q0ml2tlz2g9g

Copperhead
https://app.box.com/s/bqkjlegz20t1pcru9mpqhvv6g6rgxiks

Acoustic guitar

SM7B
https://app.box.com/s/a94rfhrniy9fpbi3q8fpixk1ivmrz7eu

Copperhead
https://app.box.com/s/mclmssjcyp1hnh47kehj6rq1nsh3i8fn
Thank you very much! That was excellent. In fact from your clips it is very evident what I was talking about, and the sm7b really sounds like a sm7b in that clip, for both vocals and acoustic guitar. That pumpy over-compressed sound from the sm7b is what I got tired of, in vocals (unless it is for hard rock or rap vocals, when I would be doing the same effect with a compressor anyways if it wasn't there), so happy to hear what the cu29 can do on the same source.

I would describe it as more "finished", that's it.

Just to confirm it, to have a little bit more high end, you took the included pop filter off the sm7, correct? I guess you used a pop filter like a stedman ps101 on the vocals and just used it without anything on the acoustic guitar, am I right? That's what I would do indeed.

Well, thanks again, I'll probably jump into the CU29 soon.
Old 9th April 2018
  #18
Gear Maniac
 

Quote:
Originally Posted by ttattwa View Post
Thank you very much! That was excellent. In fact from your clips it is very evident what I was talking about, and the sm7b really sounds like a sm7b in that clip, for both vocals and acoustic guitar. That pumpy over-compressed sound from the sm7b is what I got tired of, in vocals (unless it is for hard rock or rap vocals, when I would be doing the same effect with a compressor anyways if it wasn't there), so happy to hear what the cu29 can do on the same source.

I would describe it as more "finished", that's it.

Just to confirm it, to have a little bit more high end, you took the included pop filter off the sm7, correct? I guess you used a pop filter like a stedman ps101 on the vocals and just used it without anything on the acoustic guitar, am I right? That's what I would do indeed.

Well, thanks again, I'll probably jump into the CU29 soon.

Glad to help! Totally agree with your comments regarding the SM7B, puppy/overcompressed is a good way to describe it The CU 29 just sounds really natural and more finished as you say.

Yeah correct about the windshield, I took it off the SM7 for both the acoustic and vocals and when I did the vocal only, I added a standard pop filter (Koenig & Meyer).
Old 9th April 2018
  #19
MJB
Lives for gear
 
MJB's Avatar
I respect that many of you find the Copperhead a pro piece, but I have to be the dissenting opinion. You couldn't give me a Copperhead, because I wouldn't use it.

To me, it was dull and lifeless. I tried it 3 or 4 times, next to a U87, the Soyuz 0-17, Mojave 200 and the Telefunken AR-51. First, I'd take the AR-51 over the Copperhead any day. That's a really nice sounding mic, right out of the box. The Soyuz and the U87AI just slayed it.

I was listening for an all around, main vocal mic. Even the Mojave was more interesting, but I didn't love it.
Old 9th April 2018
  #20
Luckily for mic manufacturers we all like something different. The odds of a vocal recording 'making it big" are lottery ticket proportions so the best thing is to please yourself (sounds like an old Ricky Nelson tune). Find a mic you like, try it out on your voices, in your space, with your equipment. If it isn't enjoyable to listen to, sell/return it and try another. Most sellers have great return policies for this very reason, get something you like to listen to. I like all the mics mentioned in this thread and are all capable of making great recordings. In the end, the song and the vocal performance will win out.
Old 9th April 2018
  #21
Gear Head
 

Quote:
Originally Posted by RKeefe1032 View Post
Luckily for mic manufacturers we all like something different. The odds of a vocal recording 'making it big" are lottery ticket proportions so the best thing is to please yourself (sounds like an old Ricky Nelson tune). Find a mic you like, try it out on your voices, in your space, with your equipment. If it isn't enjoyable to listen to, sell/return it and try another. Most sellers have great return policies for this very reason, get something you like to listen to. I like all the mics mentioned in this thread and are all capable of making great recordings. In the end, the song and the vocal performance will win out.
I've been on gearslutz for a few months now and my take away of this place is this : Less gear talk, more music making. People get caught up in the gear when a great song is king. The audience responds more to lyrics and melody than perfectly mic'd/compressed snare. I'm not saying engineering and mixing doesn't matter but when you get to a certain level of gear it's almost negligible i.e. SM7 on Thriller. Creativity is King. That's just my humble opinion and probably shouldn't be taken seriously though
Old 9th April 2018
  #22
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tedtan's Avatar
 

Quote:
Originally Posted by TOFMD View Post
I've been on gearslutz for a few months now and my take away of this place is this : Less gear talk, more music making. People get caught up in the gear when a great song is king. The audience responds more to lyrics and melody than perfectly mic'd/compressed snare. I'm not saying engineering and mixing doesn't matter but when you get to a certain level of gear it's almost negligible i.e. SM7 on Thriller. Creativity is King. That's just my humble opinion and probably shouldn't be taken seriously though
I doubt anyone here would disagree, this site is just more focused on tracking/mixing/mastering, and especially the gear used for those aspects of production, than it is songwriting and arranging. So from the perspective of most people here, the song, arrangement and performance are already done before they are involved (or, if tracking, they are capturing the performance of a song and arrangement that are already complete).
Old 9th April 2018
  #23
Quote:
Originally Posted by tedtan View Post
I doubt anyone here would disagree, this site is just more focused on tracking/mixing/mastering, and especially the gear used for those aspects of production, than it is songwriting and arranging. So from the perspective of most people here, the song, arrangement and performance are already done before they are involved (or, if tracking, they are capturing the performance of a song and arrangement that are already complete).
I have no idea of the percentage of recording / mixing / mastering professionals that visit this forum, it wouldn’t surprise me if more than half were just musicians trying to get a pro sound from their recordings at home, with whatever budget everyone has at a given moment.

In my case I earn my money from another company I built that has nothing to do with music, and creating music is one of my main passions since I was 7, so I come here looking for advise in order to improve my sound, when the bug bites and I find myself missing something from my recordings. I find the last 2 years specially good in terms of new affordable gear that came out for the home studio musician, and that makes me doubt that the majority of people in these forums are pros, honestly.

Anyways, I have educated myself to understand the nuances of sound with time, but some here have worked in really nice studio environments so it is a privilege for me to have a chance to ask them directly about gear. That would just be impossible 15 years back.

Then I agree absolutely about the creative side of music and its arrangements being the most important thing in any song, but a good idea, well played, but badly tracked / recorded and mixed is not a “finished product”, and there is a minimum amount and quality of gear that you need to do that. At least one microphone, one decent preamp, a decent ADAT interface, a decent computer, some speakers or earphones, an the instruments and effects you have in your head to play. Then you also need cables, picks, cases, software, etc... my point being that all this research / quest is necessary anyways if you have some sort of need to record.

Then, that’s why I come here every few years, spend a few thousand $ on new inspiring gear, and keep playing until the next bug bites some time in the future.
Old 9th April 2018
  #24
Quote:
Originally Posted by RKeefe1032 View Post
I've tried and owned both and IMO, the Copperhead is one of the best vocal mics around. I prefer using the Telefunken tube but that's just a matter of taste.
Still own the Copperhead and sold the WA47, it just didn't sound very good on my voice but there's plenty of folks that really like it. We tried at least 2 dozen mics in the under $2K range and the Copperhead was a keeper from the first listen.
I agree. I actually bought the WA47 with intentions of replacing the copperhead, and returned it for various reasons. Now that I figured out the problem with the copperhead (Tube was going out) it sounds better than ever. And I have come to realize its a much better mic than the Wa47. Definitely one of the best vocal mics available for any price


Quote:
Originally Posted by ttattwa View Post
The telefunken tube is the one they don't have anymore, right? They say it is quite the same in the end... does it change the overall sound or not enough to notice?

Now I am curious which are these other 22 mics that you tested and your top 5 list.

Essentially I want to know if anyone here (it seems you do) resonates with my description about what I feel when I listen the CU-29 that I find rare in this price range (the depth, 3D, magic, and these other words that quite often define the 5% difference between quality products and high end products).
The Copperhead is the best vocal mic I have ever owned. It's one of the best vocal mics you can buy I think. If you can't make a great sounding record on this mic, it's not the mic.

Get the copperhead you won't be disappointed! I actually prefer the GE tube to the Telefunken NOS tube. I'm getting the best recordings I have ever gotten! Sounds better than what I even imagined. Easily stands up to the top studio mics like 47s 251s and 87s. You are correct that it sounds like a cross between 47 and 251. It's great.

My chain: Telefunken Copperhead > BAE 1073mp > Wa 76 > WA 2a > Avid Omni

check "my recordings" to hear some (hip hop) tracks i recorded / mixed with it
Old 9th April 2018
  #25
Quote:
Originally Posted by kangking View Post
I agree. I actually bought the WA47 with intentions of replacing the copperhead, and returned it for various reasons. Now that I figured out the problem with the copperhead (Tube was going out) it sounds better than ever. And I have come to realize its a much better mic than the Wa47. Definitely one of the best vocal mics available for any price




The Copperhead is the best vocal mic I have ever owned. It's one of the best vocal mics you can buy I think. If you can't make a great sounding record on this mic, it's not the mic.

Get the copperhead you won't be disappointed! I actually prefer the GE tube to the Telefunken NOS tube. I'm getting the best recordings I have ever gotten! Sounds better than what I even imagined. Easily stands up to the top studio mics like 47s 25s and 87s. You are correct that it sounds like a cross between 47 and 251. It's great.

My chain: Telefunken Copperhead > BAE 1073mp > Wa 76 > WA 2a > Avid Omni

check "my recordings" to hear some (hip hop) tracks i recorded / mixed with it
Thank you, nice clips you have posted, congrats.
Also nice is the classic vocal chain you’re using. I would use the Wa76 after the Wa2a just for peaks taming after pushing harder the Wa2a but I guess in the end its not that much different one way or the other. Do you reckon you need some sort of pop filter with the cu29? What about a reflection filter of some sort? (I see you have the one from Se electronics, but never used one, and my room is not really treated but its not bad sounding either as it has some really old walls with hand made bricks and not too much wave bouncing where I record)

After listening to a couple of your songs, I also wonder how do you get this nice separation and fullness at the same time with the background synth. It sounds huge but you don’t lose any bass clarity or vocals front stage... good work, a little off topic here but I’m always trying to learn...
Old 10th April 2018
  #26
Quote:
Originally Posted by ttattwa View Post
Thank you, nice clips you have posted, congrats.
Also nice is the classic vocal chain you’re using. I would use the Wa76 after the Wa2a just for peaks taming after pushing harder the Wa2a but I guess in the end its not that much different one way or the other. Do you reckon you need some sort of pop filter with the cu29? What about a reflection filter of some sort? (I see you have the one from Se electronics, but never used one, and my room is not really treated but its not bad sounding either as it has some really old walls with hand made bricks and not too much wave bouncing where I record)

After listening to a couple of your songs, I also wonder how do you get this nice separation and fullness at the same time with the background synth. It sounds huge but you don’t lose any bass clarity or vocals front stage... good work, a little off topic here but I’m always trying to learn...
thanks!

I used to do 2a into 76 with plugins but now that I have the warms the only way the cables reached in my desk was going 76 into 2a. but i hooked it up that way and it sounded great so haven't needed to try the other way around.

Definitely need a pop filter on the copperhead, no question. I have a 2 layer (double) pop filter.

Reflexion filter is needed in my studio due to small space, works great here. Might not need it in every studio. It's tricky, you need to be very careful about distance of the filter from the mic. Once you get the hang of placement, it sounds natural and really really clean. The Reflexion filter is a solid product.

As far as the beats I record over a premixed 2 track instrumental each time. The producers mixed the beats beforehand, so I dont know what they did exactly on that part. I don't touch the beat. I just mix the vocals over them, adding highs and removing mids and lows, compressing them more in the box, de essing and reverb. Then I send entire song (vocals / beat) through a bunch of plugins / squash pretty hard with a limiter to finish it off (loudness wars suck).

Ive recorded a lot of different styles on this mic and its worked great on all of them. Last week did some Indian music the week before some Rock music. I'm mainly into hip hop. Everybody's happy
Old 10th April 2018
  #27
Lives for gear
 
tedtan's Avatar
 

Quote:
Originally Posted by ttattwa View Post
I have no idea of the percentage of recording / mixing / mastering professionals that visit this forum, it wouldn’t surprise me if more than half were just musicians trying to get a pro sound from their recordings at home, with whatever budget everyone has at a given moment.
Yeah, that's a good point. We do have more and more musicians participating these days, so perhaps a thread on writing and arranging would be a good sticky in the Newbie subforum.


Quote:
Originally Posted by kangking View Post
I used to do 2a into 76 with plugins but now that I have the warms the only way the cables reached in my desk was going 76 into 2a. but i hooked it up that way and it sounded great so haven't needed to try the other way around.
That's the "classic" way of hooking those two compressors up. The 1176 catches the fast transients and gives the (much slower) LA2A a more even signal to work with.
Old 10th April 2018
  #28
Gear Nut
I currently own the WA47 and the Copperhead having bought them to compare on my voice. They both sound great, I've found the Warm to be darker/retro sounding while the Copperhead is more detailed and modern, but still has warmth and smoothness. I've decided on balance to sell the Telefunken as I have some harsh frequencies in my voice around 3khz and 7khz that are more disguised by the WA47, and because for my songs the more vintage tone works better, but if I could I'd keep both as for softer songs the top end presence of the Copperhead is lovely. Oh also the WA47 is a bit noisier than the Telefunken, which is really quiet for a tube mic.
Old 10th April 2018
  #29
Gear Maniac
 

When your room sucks, your mic choice doesn't really matter. And in most samples I hear these days, the room is awful. Fix your room then worry about the differences between an SM7/CU29/MA200, etc..

The other thing I hear a lot of is poor mic technique (both live and recorded). Learn how to sing into a mic! It is an art.

I get the gear thing. It's a big deal figuring out what to buy. But man...an SM58 in a treated space with an experienced vocalist can sound better than most of the samples I hear.
Old 10th April 2018
  #30
Quote:
Originally Posted by Pangolin View Post
When your room sucks, your mic choice doesn't really matter. And in most samples I hear these days, the room is awful. Fix your room then worry about the differences between an SM7/CU29/MA200, etc..

The other thing I hear a lot of is poor mic technique (both live and recorded). Learn how to sing into a mic! It is an art.

I get the gear thing. It's a big deal figuring out what to buy. But man...an SM58 in a treated space with an experienced vocalist can sound better than most of the samples I hear.
I have read that same thing many times in here, and I am no expert but from my experience this doesn't always need to be that way.

Lots of awesome records have been recorded in houses or open live studio rooms. Some bands have gone a few weeks / months to some big house just for inspiration, and recorded everything there, in untreated rooms, Incubus made their (to me) best album in a house with a swimming pool that they rented for 4 or 6 months... no acoustic treatment, just a rich guy's house... lay a few mats on the floor, maybe some curtains, and if you can't hear too many reflections when you clap, than you're good to go...

In fact, totally isolated vocals give you a lot of flexibility for mixing afterwards, that's true, but a room ambience can give a vocal some richness as well, that is not always easy to duplicate with reverbs and such... if you want it.

as I said, I am no expert, but recording in vocal booths is not inspiring at all, and I don't think there's only one way to do things...

In these scenarios, a good mic is important, the mic is the ear, the first thing in the chain that captures the sound, if it does it well, then everything should be easier...

.... hence the relevance of my question in the first place.
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