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[Doc Roc]

Hi Guys,

I am interested in purchasing a pair of versatile, budget (under $500/pair) condensers for Live recording audience mics and/or studio recording acoustic instr mics.  It'd be nice for these to double as OH too  Was thinking...NT5?  Any other opinions??

Also, may purchase a couple bargain (under $100) condensers for situations when the club I may be recording at has broken/bad OH or High Hat mics. thinking between the Joe Meek JM27 or adk sc-1.  thoughts?

[compasspnt]

I would agree with the 5's.

Get the adk over the meek.

[vegas4ever]

whatever you do DONT go with the Joe Meeks!!

[hargerst]

As very low cost alternatives, the Naiant mics will work well, if used in close, even though they're omnis (and they also make some cardioids).

[Doc Roc]

Ok, I think I may go with the pair of NT5's.  haven't decided on the budget cymbal condenser

I am also thinking of a versatile dynamic now, but can't decide between the SM7 or the RE20.  Thoughts???
Looking for something that will allow me to track some vocals in less than ideal rooms (for bands that don't wanna pay the extra $ to track at the studio), as well as to use for as many other uses as possible!  Maybe the one that's the most different from the NT5's so I can cover a little more ground between those and the new one?  

Thanks!

[compasspnt]

Not the world's biggest SM7 fan here, and I do really like the RE-20 on many instruments.

However, if you plan for vocals on dynamic, I would probably go with the 7.

Or get a 441.

Some like the Heil mics, but I've never heard one.

[PookyNMR]

I've done a lot of live-on-location recordings.  For crowd mics I would suggest using a shotgun mic of some sort.  

If you're looking for more of a 'room' mic instead of a 'crowd' mic, that is a different matter.  But for crowds, especially if the work is being done for TV/ video, you would do better with a shotgun mic.

While there are probably better tools out there, I often use AKG 568s or a C480 with CK69 cap.

[Doc Roc]

Hey Terry,

Yeah, the main use will be the 'vox in a bad room' mic.  And then if I can use it for other things, like maybe acoustic guitar in a bad room, or various things, then that's great too.  The thing I was a little worried about with the RE20 was the foam deterioration problem.  We had two at my school studio yrs ago that definitely had that problem.  I was wondering how often and how quickly that occurs.  I'm in Denver, so pretty dry, should that help?  Hmmm, my school was in Denver too though...  I'd hate to spend that amount for it not to last 5 yrs before it needed $200 repairs.  

Nathan,
Mostly I'll be in rooms between 250-500. Every now and then I'll be in a 1000 or 3500, but the small rooms will be too small to be able to utilize a shotgun, correct?

[Steve Folta]

Doc Roc wrote on Tue, 09 October 2007 10:15

The thing I was a little worried about with the RE20 was the foam deterioration problem.  We had two at my school studio yrs ago that definitely had that problem.  I was wondering how often and how quickly that occurs.  I'm in Denver, so pretty dry, should that help?  Hmmm, my school was in Denver too though...  I'd hate to spend that amount for it not to last 5 yrs before it needed $200 repairs.

The SM-7 is also subject to foam deterioration, but a replacement windscreen is only $15 and is trivially easy to install.

[compasspnt]

If you got a new RE-20, I would expect that you would have many, many years of good usage before the foam deteriorated.

Mine needed repair after about 20 years.

Don't forget that the 20 produces very little, if any, proximity effect.

So if you want PE, go with something else (421 for instance).

If you don't want PE, this could be the microphone for you.