Help Me Choose a Mic.

[Kamera]

So you might remember me hesitating between microphones in a thread creatively entitled “Get an Expensive Dynamic Rather Than a Cheap Condenser” or something to that effect. I’ve given it a lot of thought, and the conclusion I’ve come to is that I do, in fact, need a cheap condenser for the time being since I have little to no money and I’d like to record both vocals and acoustic guitar.

So, after a few dozen hours of online research, I’ve narrowed my choice down to the following three mics: the AKG C 214 (~$600), the Audio-Technica AT4033/CL (~$400) and the Advanced Audio CM-47fet (~$350).

The three of them are LDC cardioid mics. The AA mic is a Neumann U-47 ‘copy.’

So, which one should I go with?

I’ll be getting the Apogee Duet, without an external pre-amp for the time being (can you tell the budget is tight?) so things will be pretty transparent on that end.

I’m a baritone/tenor, with a lot of resonating low-end frequencies. I want something that I don’t need to back five feet away from. I currently record with a friend’s Studio Projects C1 and when I’m close to it I need to hi-pass everything at 150Hz; if I back up there’s so much fucking sibilance that an effective de-esser setting makes me sound like I have a lisp.

I need a better mic. I need a better mic bad.

Once I get out of school and start drawing a half-decent income I will revamp the set-up but ideally I want a mic that I wouldn’t have to throw out when upgrading, even if I won’t be using it for the same mission-critical task of cutting vocals.

Most importantly, I would like the input of someone who owns and uses one or more of these mics.

I have to make this decision this week.

All input is greatly appreciated.

[otek]

Let me stop you right here.

You started the previous thread in some ways based on the assumption that you need a condenser, regardless of quality, to record good vocal sounds.

You are starting this one based on the assumption that you need a condenser, regardless of quality, to record acoustic guitar.

This reminds me a lot of the numerous threads recently about mastering. Some unknown marketing entity with untold brute suggestive powers has apparently been at work cementing certain truths in the minds of fledgling recordists worldwide, hard enough that an entire panel of pros cannot even begin to unstick them.

I'm not here to bang the Expensive Dynamic drum once more, you've heard all the arguments already. Just trying to put things into perspective before you plunk down your cash.


otek

[dandeurloo]

Otek is totally right. However, I understand you place. Once again I say pull the trigger on the AA mic. I use mine every single day. I had 4033 of a friends for a long time and I owned a 4050 until I bought the AA fet47. Its really is only cheap in price.

I think the most important thing is at some point you've got to pull the trigger on something and get down to making some music.

2 cents

[Knastratt]

I think the AA and Duet will be fine.

[RWC]

The cheaper AKGs, IMO, suck terribly.

I've worked with vocals recorded with them.

I've worked with lots of other instruments recorded with them.

Not. Impressive.

Take the money you'd spend on another preamp and put it into a better microphone. Or make your own preamp with two 9v batteries, a breadboard, and a THAT1512.

[Kamera]

You are starting this one based on the assumption that you need a condenser, regardless of quality, to record acoustic guitar.

This reminds me a lot of the numerous threads recently about mastering. Some unknown marketing entity with untold brute suggestive powers has apparently been at work cementing certain truths in the minds of fledgling recordists worldwide, hard enough that an entire panel of pros cannot even begin to unstick them.

Otek, are you referring to the fact that I’ve changed my position with regards to what kind of source I need to capture or are you suggesting that an expensive dynamic can fit the acoustic guitar bill as well?

[Tim Armstrong]

or are you suggesting that an expensive dynamic can fit the acoustic guitar bill as well?

I'm not Otek, but I read it that way!

Tim

[Kamera]

Well, fuck me, I can be stupid sometimes...

[otek]

Well, fuck me, I can be stupid sometimes...

Absolutely not. This is about marketing and what supposedly "more experienced people on the internet" will tell you. And yes, I see the irony of the situation... :D

I'm not saying that a dynamic is always the ultimate choice, and certainly on acoustic guitar I would probably pick other mics a lot of the time.

You did however make it clear that these are times of necessary compromise for you. You also stated that

ideally I want a mic that I wouldn’t have to throw out when upgrading

...which would certainly suggest the "expensive dynamic" option - I don't see a whole lot of AT's, AA's and lower-rung AKG's in major studios, but I frequently spy SM-7s, RE-20s, M-88s and 441s.

And while a pair of SDC's will probably be my first suggestions for acoustic guitar, I have gotten great results with dynamics, especially in less-than-ideal rooms and situations when leakage may be an issue.



otek

[Starfucker]

I thought the AKG 214 was close to a 414 but with a fixed pattern. Almost same quality, not like the Perceptions or C3000 cheapos.

Has anyone tried one?

I think the reason why you don't see them in studios is because a) they're new and b) most studios already have 414's

[otek]

I think the reason why you don't see them in studios is because a) they're new and b) most studios already have 414's

I see what you're saying, and I was speaking generally. I have no experience with the 214, but from what I've heard you're right.

I think the world of the 414. It's an incredibly versatile mic.


otek

[Mixboy2105]

Yes, indeed.. mic decisions. I guess the phrase "buy with your ears, not your eyes" come into place. Whatever mic you choose, it will not help that greatly if mic placement/technique is less than ideal.

I've had tracks recorded with an AKG C4000B that sounded like a poorly recorded dynamic due to bad mic technique and at the other end of the spectrum, vocals recorded with "big name" mics (from a local "big name" studio) that sounded nothing nothing like a LDC, because over over-EQ and over-compression.


Cheers

[Nutmeg]

The AT4050 ain't a bad mic at all!

In fact it can stand up to a lot of task like the 414.

P.S.: You got to love how all 414 are the same in forums no matter if it's one with brass or teflon capsule, no matter if it's a old or a new one, no matter if it's TLII or ULS...
It's like saying I love the dbx160 compressor.

[FrogMan]

That thing about the 414, I think it's because in any of its versions it is a very good, versatile mic with a quality of its own, I think of it like the SM57 of the condensers, you can record a whole LP with only 414s, it'll fit the bill for anything just right. But what I find amazing is that I find it a very difficult mic to use. It can sound incredible if positioned right, but has this particular tendency to sounding completely dull if the position's wrong. IMHO, it is one incredible mic that also separates the pro from the not so.

I agree with dandearloo on the topic, it's probably the best option to just choose one of the bloody mics you can afford and start making music pronto. In the end mic quality won't mean shit unless performance & recording technique are both stellar, I don't mean you're not stellar yet 'coz I don't know, but your current quest for gear suggests you can use some hands on experience at this point more than anything. If that's not the case, just ignore my comment ;-)

Salu2.

[otek]

It's like saying I love the dbx160 compressor.

But I do love the Dbx 160 compressor. :D


otek

[randallfreak]

i like the sm57

[qharley]

i like the sm57

Makes sense... Didn't you mean the PG57 though...

Not like we are discussing condenser mics or anything...