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[Jack Schitt]

After a several days of researching LDC mics in my price range (300-500) there must be at least a dozen or more where flipping a coin would be as good a method of choosing as any. I feel like I'm running around in circles. I've listened to as many as I can and side by side when possible. The truth is, I hear subtle differences at most. None suck, and none blow me away. I realize not comparing everything side by side is very limiting/distorting but are they really that vanilla or can i not see the forest for the trees at this point? Time to work on the house and get out of the studio a few days.

I envy the big room's budget. They just buy everything and figure it out later...

[compasspnt]

Denny, where are you auditioning these mics?  If it's in a store or a showroom, then you probably cannot trust the results.  For sure it will be much harder there to discern the differences.  Try to find some way to test the mics out in your studio/listening environment (borrow, return privilege, etc.).  That will tell you a lot more.

FWIW, I second Geoff about the SM7 and the K2.  I have both, and they are different, but both versatile.  The K2 especially is amazing for the money, and should work great with the Brick.  Also R

[R Geoff Ruby]

Oh, one more thing. Whatever you decide to buy - go with it and enjoy it. There will always be folks here who will , uh, suggest you should have bought this or that instead. But they're not you, aren't recording in your space, don't necesarily want what you want and don't hear the same way you do.

Take everybody's advice here with a grain of salt. (But do listen to Terry - he's made just a few records you might have heard of. Me? Not so much.)

So yeah, ask advice, but when you do make the plunge and fork out some cash - don't second guess. Use your energy to learn and get the most out of your new toy. I think whether you end up with a LDC or SDC or a couple of dynamics, they'll all be useful tools in your arsenal. What's most versatile for you right now? I still dunno. Try not to sweat it too much.

Cheers,
Geoff Ruby

[hargerst]

Denny, where are you located?

[Frob]

what are you using them for? are they just all around mics? i absolutly love my studio project C4s if your looking for SDC if your looking for a LDC then the CAD M9 is great also take a look at the AT40 line the 4033 is said to be the most versitle. if you dont have one or more, a SM57 should be in there as well. if i where starting i would go with the AT4033 or 4040 really good versitle mics.

[Jack Schitt]

Harv, I'm in Ohio

More information as requested:

The room is 9w x 11L x 8h. I have LENRD bass traps floor to ceiling  in all 4 corners and across the back wall/ceiling. Most of the front 30% has absorbtion as well as 2x2 panels at all first reflection points not already treated including the ceiling. I have a diffusor array on the back wall. Floor is carpeted.

Monitors are Alesis M1 Actives. Pre's are GT Bricks and Mackie VLZ

Mics I have tried in my room not including what I own are an AT4033a and a couple different CAD mics(Don't remember the models) I borrowed from my drummer. Things I have tried in various places include Studio Projects B1, Shure KSM27, AKG C3000, Rode NT1A, AT4050, U87, AKG414, CAD 3000. I'm sure I am forgetting a few as well.

The U87 is just a classic and easily recognized sound but out of my price range. The 414 would take longer but would be a possibility. The different variations both current and past make that one more difficult to sort out though.

Overlooking the U87 and the 414 for the moment, the NT1A, the SP B1, and the AT mics were the slight favorites out of the group. The SP really surprised me but all of them are perfectly usable mics. This is why I thought I may may have lost a little perspective. The mics in this range had differences but weren't night and day. I was concerned that I was even more tone deaf than I thought!

I definitely heard a very noticable difference between the 87 and the rest) but other than that the differences were a lot more subtle. Must have been a slow day at the store I guess, I got to blind test a few mics and picked the 87 out blind as the far superior mic of the group. Clear why its a standard.

[Frob]

i really wish i had not bought my nt1a only because it sounds thin unless you have good pres. just wait save and buy a sebetron 2000e or 4000e (2-4 channel) they are awesom pres and verry affordable. if youve got you hear set on a mic MY choise would be the 4033 or the studio projects mic. also i cant help but recomend the KEL HM1.

[Jack Schitt]

Frob wrote on Fri, 30 September 2005 18:16

i really wish i had not bought my nt1a only because it sounds thin unless you have good pres. just wait save and buy a sebetron 2000e or 4000e (2-4 channel) they are awesom pres and verry affordable. if youve got you hear set on a mic MY choise would be the 4033 or the studio projects mic. also i cant help but recomend the KEL HM1.

I have a pair of HM-1's, so I would agree with you there. I'm pretty happy the the GT pre's. I don't think they are the weak link in my chain but I am certainly willing to entertain other ideas souch as different pre's to get where I need to be.

[Frob]

i have the brick as well and i love them. the mackie, ive got the 1604 vlz pro, and wile they are the cheapest uncolored pres that i would consider usable, they have some defanate limitations.

[Gunnar Hellquist]

A lot of people with good ears has been satisfied with the down-to-earth-budget SP B1 (and some has hated it). My suggestion: go ahead and buy one and use it till you have found out all about that mic in different usages. Once there you can go on and test others. It takes a lot of hours to know only one mic really well, to test out a whole bunch is really impossible unless you have a solid base to stand on. The B1 is a good starting point, and at that price level you could throw it aways once you have squeezed the knowledge from it (but I think you will keep it).

Gunnar