, … from various posts at TOMB.
I have a RE10 is a go-to for me for BV’s.
I actually just got a MXLV96ME, which I like, because I so dislike the MXL9000 I have.
I, too love the Peavey 520i, often using it as the lead vocal mic, with the SM7b (which is darker) for the BV’s.
I will add that I really like omni dynamics in general, including the Rat Shack 33-1070d, EV635a, the Shure SM63L, and the AT802.
The latter three are “reporters’ mic’s” and serve wonderfully on BV’s (and guitars and percussion and even room), with the 635a in particular being useful on occasional lead vox. As omni’s, of course, there’s little to no proximity effect, and often no add’l EQ required.
I just bought a used 460 from a fellow TO’er. Of those two capsules, do you reco one, and why?
I’ve a MXLV69ME I recently picked up cheap, quite broken in, and I really like it as is. (I have a MXL9000 I kinda don’t.) My intent was to obtain the 460 as a complimentary but different-sounding tube mic to the 69, for use in the same tracks, and separately. And as I’m new to tube mic’s, I thought to mod it (and the 9000, also).
In keeping with the theme of this thread, I really like tube mic’s as a “winter alternative” to condensors. I live in a tract house where the heating system is forced-air and quite loud, making condensors unusable unless I remember to turn the heat off – I’ve ruined a lot of good takes by forgetting.
And I love large and small dia. dynamics, and use them regularly, but I like variation, and tube mic’s are perfect – they sound quite different, I believe more detailed than dynamics, yet aren’t so sensitive as condensors.
They shall undoubtedly become a “summer alternatve”, also, when the AC is necessary.
([After it was noted a “tube” mic is a type of condensor:)
I knew that! I just forgot …
That said, the tube mic’s I have are far less sensitive to ambient noise then my “regular” condensors.
For that matter, the Luna with its transformer is less sensitive in the same way than, say, the FET mic’s like my AT4040’s, KSM 27, Blue Spark, and various POS Chinese LDC’s from ADK, MXL, Bellwanger and Samson.
FWIW, I find onna kinda general dark to bright scale the following order:
Ribbon – Lrg.Dyn – Sm.Dyn. – Tube – Trnsfrmr.Cndnsr. – LDC FET Cndnsr. – SDC FET Cndnsr.
I’ve not yet used any crystal mics, nor tube/ribbon mic’s nor a SDC condensor with a transformer. And I acknowledge that the above is approximate, and doesn’t account for transformers or not in dynamics nor high vs. low impedance, etc.
Also, I find that scale also roughly corresponds with sensitivity, altho’ most women who know me would rule me unqualifried to comment …
… altho’ I never use the roll-off. I really like the 421 II, also, on voc’s, better than the RE320. I find the 421s to be very smooth and balanced (vs. sibilant, hyped or skewed.)
Re the SM7, I had read that the Peavey 520i was very similar. I finally got one for a reasonable price and actually find it like a brighter SM7b, and very complimentary for less than 1/2 the price.
I’ve never used an RE20, but do like the RE320 for vox and bass. The MD421 II is totally worthy; while I prefer my 421n that’s as much to do with mojo as sound.
I love omni’s, and invite you to look at the “sleeper vocal mic” thread for mine and other’s comments about various dynamics.
Old AKG mic’s are a trip – IMO, often over-engineered works of visual art.
EV’s almost always rock, and the various N/D mic’s are cool.
I really like the Beta 58 for live rehearsals – terrific rejection and good sound.
Finally, one of my fave amp mic’s lately is the venerable Shure 545.
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