Couldn't agree more (including not having the scratch for these)! I'd love to have a pair of these for OH's or vocals, sax. snare bottom, well basically for a bunch of applications. Sometimes I track at a friends' studio & he records me with a pair of AKG 414s and an Electrovoice RE-20 for kick. He's got an Amek TAC Scorpion audio console that would look at home on the bridge of the starship Enterprise & he spends obsessive amounts of time measuring/placing mics. The result really captures my drums like I like to hear them. He has much more expensive Neumanns & other options, but tends to use the 414s instead.I know it’s above the price range, but worth noting that that AKG 414s are currently $300 off (but still almost $800). They were actually $717 last week at Sweetwater. These are the go-to studio LDCs for a ton of applications. Wish I had one, but I ain’t got the scratch at the moment.
You can get em used for about five bills.
Personally I can only vouch for 414's is that price range (sort of). In that price range, it kind of depends on whether you are looking for a mainline tried and true mic (that will likely maintain some resale value) or any of the many sort of knock-off mics by the small boutique companies (which can vary from incredible to horrible - and either way will retain little resale value). For the mainline mics this could mean buying used... depending on how you feel about that. (Most of my mics are used).Hey...
Looking to explore some one and two mic set ups, and also bass drum micing with large condensers.
I have two Audix ADX-51s. Just looking to work on using a single mic set up in a really poor acoustic enviroment.
Yea, I was watching these at Sweetwater. That had them for $250 US. Hesitated while researching and they numoed back up to $300!I have a pair of AT4040 mics that I use on everything. I was able to find a used pair for $450 Canadian. They're flexible mics that work for overheads, vocals, guitar cabs, and random percussion.
Thanks.I know it’s above the price range, but worth noting that that AKG 414s are currently $300 off (but still almost $800). They were actually $717 last week at Sweetwater. These are the go-to studio LDCs for a ton of applications. Wish I had one, but I ain’t got the scratch at the moment.
You can get em used for about five bills.
Thanks David. Definite words of wisdom there, and considering just saving up for the higher end AKGs.Personally I can only vouch for 414's is that price range (sort of). In that price range, it kind of depends on whether you are looking for a mainline tried and true mic (that will likely maintain some resale value) or any of the many sort of knock-off mics by the small boutique companies (which can vary from incredible to horrible - and either way will retain little resale value). For the mainline mics this could mean buying used... depending on how you feel about that. (Most of my mics are used).
If going the off brand approach, I would suggest buying through anyone with a no questions, 30 day return policy (like most, but not all of the stuff on Amazon) - but even then $500 is pushing you into the low end. Basically microphones - good ones - are flipping' expensive.
Last thought - minimal micing and "poor acoustic environment" really don't go together very well. To use a single mic on a drum set, you have to get it a bit away - in order to "catch" the whole kit... but the further from the source the mic is - the more prevalent the room sound becomes.
And the more demanding it becomes on the quality of the microphone. Multiple mics means multiple signals - each mic only has to do part of the job - and each mic's contribution can then be tweaked individually (trying to minimize the shortcomings). But with one mic - it has to catch it all - and you can't add attack to the BD without making the cymbals brighter (maybe too bright).
All that said - I've gotten some reasonable jazz things out of the pair of 414's and a BD mic. As far as one mic goes, the only one I've ever owned that I felt could do a kit justice in more pop/rock settings is one of my Coles 4038 ribbon mics - set it a few feet in front of the kit and it really does grab it all - and really quite nicely. But of course they go for about $1350 a pop - plus to get that workable effect that mic better be running through a pretty decent mic pre or the whole thing is back sounding puny, small and needing of serious tweakage - bringing us back to needing multiple mics to tweak.
Gotta envy guitar players - a couple of premium mics, a 57 and a high quality stereo mic pre and they are ready to seriously record - in most any room. But drums... sheesh!
Thanks for the suggestion.If I were in the market for large diaphragm mics around that price range id go with the se4400s. Not under 500, but right on 500 a piece. Superb mics for the money.
Some great points, thank you Thumper. I'm not sure that I even know exactly what I am trying to achieve...lol, so ANY thoughts or experiences are welcome.Not sure what you are looking to achieve with an LDC mic, but I'll table a few thoughts that may or may not help:
* Condenser mics are more sensitive but are also more delicate - drop it once, maybe twice and it's a paper weight;
* distance micing adds a lot of variables as dcrigger states - the further from the source, the more other non-favorable elements can be captured such as reflections and reverberance. The less study-like the recording environment, the more these challenges will be present. Depending on distance and what your trying to mx with, latency might become an issue;
* an LDC is more likely to capture unwanted overtones if any exist;
* I'm not certain a condenser would be a better choice for low frequencies over a dynamic; the extended range for condensers is mostly at the high end;
* I've had good results with three mics, both studio and live - two SDC overheads (captures cymbals nicely with modest location adjustments) and a LD dynamic for the bass. Not too many to make gain balancing a challenge.
Wow-that is some great info Treviso. Exactly what I was looking for.... Affordable and easy way to experiment with LDCs.I have a huge collection of mics and I was in the studio business for 20+ years as an owner. For your money, check out used Audio Technica AT3035 mics. I really like these mics and you can find them used for around $125 with the shock mount, less without the mount, but you can buy an aftermarket shock mount for under $20. I have about 12 of these mics and I have used them for everything from overheads, room mics, close micing toms, guitars, vocals, acoustic guitars, etc... They are a best kept secret and they sound great...way better than anything anywhere near that price range. Buy used...save a bundle.