[Ben Hanson]

I'm in the process of transitioning my project studio into something more
serious and I wanted to see what some of you guys thought about some gear.
On the mic side, my current mic is a Rode NT1A, but my pre-amps are pretty
cheap...a middle-of-the-road Presonus, and also a Studio Projects VTB-1. I'm
already planning to upgrade to a better mic pre (I'm leaning pretty heavily
towards either a Great River ME-1NV, a Grace 101, or Universal Audio
SOLO/610 or 110...any other suggestions???). I know that the NT1A is highly
regarded for the money and that this will help the mic to sound even better.

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ to
get it toned down to where it doesn't fatigue.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should try,
and any thoughts about the mic pre as well?

-Ben



--
Posted via a free Usenet account from http://www.teranews.com

[HKC]

One word : Ebay. Your budget is big enough to get some really cool stuff if
you buy secondhand.

[ViceMountbatten]

I've always had good results from an AKG C-414 ULS. You can get them
used for a very reasonable price. There's someone selling two right
now here in rec.audio.pro.

[Rick Ruskin]

On 6 Apr 2007 13:50:45 -0700, "ViceMountbatten"
wrote:

I've always had good results from an AKG C-414 ULS. You can get them
used for a very reasonable price. There's someone selling two right
now here in rec.audio.pro.


Considering his description of his voice, I wouldn't even consider a
414.


Rick Ruskin
Lion Dog Music - Seattle WA
http://liondogmusic.com

[hank alrich]

Ben Hanson wrote:

I'm in the process of transitioning my project studio into something more
serious and I wanted to see what some of you guys thought about some gear.
On the mic side, my current mic is a Rode NT1A, but my pre-amps are pretty
cheap...a middle-of-the-road Presonus, and also a Studio Projects VTB-1. I'm
already planning to upgrade to a better mic pre (I'm leaning pretty heavily
towards either a Great River ME-1NV, a Grace 101, or Universal Audio
SOLO/610 or 110...any other suggestions???). I know that the NT1A is highly
regarded for the money and that this will help the mic to sound even better.

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ to
get it toned down to where it doesn't fatigue.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should try,
and any thoughts about the mic pre as well?

Maybe try one of Wes Dooley's AEA R84's. I think it might fit well with
your voice, given your description thereof.

--
ha
Iraq is Arabic for Vietnam

[Scott Dorsey]

Ben Hanson wrote:

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ to
get it toned down to where it doesn't fatigue.

Some people like this a lot because it really makes the vocals push up forward
in the mix. I usually don't like it, but I can see why folks who are doing
midrange-heavy mixes might.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should try,
and any thoughts about the mic pre as well?

If you're looking for something that is clean and smooth in the 3KC region,
for a voice that is already right, the first things I would grab would be
the RE-20 or the Beyer M260. Cheap condenser mikes would probably be best
avoided. Both are under your price range and probably a better fit than
any of the mikes you mention.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ben Hanson]

Thanks Scott...what about those mics do you think would make them a good
fit? I just read about them online and I guess I expected them to be more
expensive, or LDC's at least. Interesting that they are neither.

-Ben


"Scott Dorsey" wrote in message
...
Ben Hanson wrote:

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to
accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ
to
get it toned down to where it doesn't fatigue.

Some people like this a lot because it really makes the vocals push up
forward
in the mix. I usually don't like it, but I can see why folks who are
doing
midrange-heavy mixes might.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should
try,
and any thoughts about the mic pre as well?

If you're looking for something that is clean and smooth in the 3KC
region,
for a voice that is already right, the first things I would grab would be
the RE-20 or the Beyer M260. Cheap condenser mikes would probably be best
avoided. Both are under your price range and probably a better fit than
any of the mikes you mention.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."



--
Posted via a free Usenet account from http://www.teranews.com

[hank alrich]

Ben Hanson wrote:

Thanks Scott...what about those mics do you think would make them a good
fit? I just read about them online and I guess I expected them to be more
expensive, or LDC's at least. Interesting that they are neither.

Ben,

He has suggested mics that have significantly different characteristcs
from the one you're using and the mics you listed as under
consideration. The RE-20 and M260 lack that piercing upper register,
which so many folks today mistake for clairity.

"Scott Dorsey" wrote in message
...
Ben Hanson wrote:

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to
accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ
to
get it toned down to where it doesn't fatigue.

Some people like this a lot because it really makes the vocals push up
forward
in the mix. I usually don't like it, but I can see why folks who are
doing
midrange-heavy mixes might.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should
try,
and any thoughts about the mic pre as well?

If you're looking for something that is clean and smooth in the 3KC
region,
for a voice that is already right, the first things I would grab would be
the RE-20 or the Beyer M260. Cheap condenser mikes would probably be best
avoided. Both are under your price range and probably a better fit than
any of the mikes you mention.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."


--
ha
Iraq is Arabic for Vietnam

[Scott Dorsey]

Ben Hanson wrote:
Thanks Scott...what about those mics do you think would make them a good
fit? I just read about them online and I guess I expected them to be more
expensive, or LDC's at least. Interesting that they are neither.

They aren't edgy on top, they have fairly transparent midrange response,
but a very minor presence boost. Give them a try. They are both old
studio standards. The Shure SM-7 is another old standard but I'd try
the RE-20 first.

If you want a more forward sound or a more tipped up sound, that's fine,
but if you start with the RE-20 you'll know which direction to go in.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ben Hanson]

Thanks Scott and Hank. What advice do you have in regards to the mic pre?
I'm willing to spend up around 1K and the Great River is seemingly at the
top of that pile based on the reading I have done and the recommendations of
others. Are there any "sleepers" that might be less expensive but still at
least as good and perhaps better for less, like maybe the Grace 101, the UA
SOLO's, or an FMR RNP that I should look out for? I've heard to avoid
Focusrite unless you can get up into the ISA range which is a bit more than
$1K, and the Avalon stuff is a bit more as well.

It seems to me that mic pre's don't work the same way as mic's...that is,
whereas a less expensive mic like the RE-20 vs. say something like a TLM-103
or better might actually be the better mic for the application, it seems
like mic pre's generally are better as you go higher, in nearly all
applications...but I would like to hear your take on that.

-Ben


"hank alrich" wrote in message
...
Ben Hanson wrote:

Thanks Scott...what about those mics do you think would make them a good
fit? I just read about them online and I guess I expected them to be more
expensive, or LDC's at least. Interesting that they are neither.

Ben,

He has suggested mics that have significantly different characteristcs
from the one you're using and the mics you listed as under
consideration. The RE-20 and M260 lack that piercing upper register,
which so many folks today mistake for clairity.

"Scott Dorsey" wrote in message
...
Ben Hanson wrote:

What I have noticed with the NT1A though is that with my voice it has
an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and
my
voice is very clear and fairly bright already. This mic seems to
accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the
EQ
to
get it toned down to where it doesn't fatigue.

Some people like this a lot because it really makes the vocals push up
forward
in the mix. I usually don't like it, but I can see why folks who are
doing
midrange-heavy mixes might.

I have located a shop in Atlanta that rents recording gear so I am
already
planning on trying out some various mics, but my budget is going to be
in
the $500 - $700 range (after I sink $1K into a really good mic pre!)
and I
wanted to see what you guys with a lot of experience might recommend
for a
high tenor voice that can sound piercing if the mic accentuates the
upper
registers at all. In this range I see things like the Rode K2, AKG
C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should
try,
and any thoughts about the mic pre as well?

If you're looking for something that is clean and smooth in the 3KC
region,
for a voice that is already right, the first things I would grab would
be
the RE-20 or the Beyer M260. Cheap condenser mikes would probably be
best
avoided. Both are under your price range and probably a better fit
than
any of the mikes you mention.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."


--
ha
Iraq is Arabic for Vietnam



--
Posted via a free Usenet account from http://www.teranews.com

[hank alrich]

Ben Hanson wrote:

Thanks Scott and Hank. What advice do you have in regards to the mic pre?
I'm willing to spend up around 1K and the Great River is seemingly at the
top of that pile based on the reading I have done and the recommendations of
others. Are there any "sleepers" that might be less expensive but still at
least as good and perhaps better for less, like maybe the Grace 101, the UA
SOLO's, or an FMR RNP that I should look out for? I've heard to avoid
Focusrite unless you can get up into the ISA range which is a bit more than
$1K, and the Avalon stuff is a bit more as well.

The Great River is, IMO, a fabulous preamp and very versatile, offering
a range between quite clean and nicely colored. You can't go wrong with
it. The RNP is extremely good, regardless of its relatively low cost,
and in your situation I think its shortcomings, as delineated by the
designer right on the FMR web site, would make little difference.

Given a package budget one can balance the cost of the mic versus the
cost of the preamp. It could be that the Wes Dolley R84 ribbon mic I
suggested combined with the RNP would work very well, even if the mic
itself is a bit over budget. There aren't any other sub-$1K preamps I
appreciate that aren't kits.

As for LDC's that don't bite (i.e., don't have that peaky edge to the
high end) you might consider the Mojave Audio MA-200.

It seems to me that mic pre's don't work the same way as mic's...that is,
whereas a less expensive mic like the RE-20 vs. say something like a TLM-103
or better might actually be the better mic for the application, it seems
like mic pre's generally are better as you go higher, in nearly all
applications...but I would like to hear your take on that.

I think you're basicly right, though there are now many costly preamps
that I haven't tried, so what do I know?

--
ha
Iraq is Arabic for Vietnam

[Scott Dorsey]

Ben Hanson wrote:
Thanks Scott and Hank. What advice do you have in regards to the mic pre?
I'm willing to spend up around 1K and the Great River is seemingly at the
top of that pile based on the reading I have done and the recommendations of
others.

I like the older Great River, which is in the catalogue but hard to get them
to make for you. The newer NV model is much more colored. Now, it's a good
coloration, but I think if you are going to have only one mike preamp it
should be a clean one.

Are there any "sleepers" that might be less expensive but still at
least as good and perhaps better for less, like maybe the Grace 101, the UA
SOLO's, or an FMR RNP that I should look out for?

The RNP is worth trying, and so is the John Hardy box. Hardy allows you to buy
the thing in bits and pieces... you get a box with one channel, then you
drop another channel in later, drop metering in later, with no price penalty.
I like that.

I've heard to avoid
Focusrite unless you can get up into the ISA range which is a bit more than
$1K, and the Avalon stuff is a bit more as well.

I have never used the Focusrite stuff. Avalon makes some really top grade
gear and they also make at least one model that is rather crappy. The world
is just like that.

It seems to me that mic pre's don't work the same way as mic's...that is,
whereas a less expensive mic like the RE-20 vs. say something like a TLM-103
or better might actually be the better mic for the application, it seems
like mic pre's generally are better as you go higher, in nearly all
applications...but I would like to hear your take on that.

For the most part this is the case. What is weird is that the cheap commodity
preamps that we all took for granted because they were part of the console
are now being torn out of old vintage consoles and sold for outrageously high
sums of money.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[hank alrich]

Scott Dorsey wrote:

I like the older Great River, which is in the catalogue but hard to get them
to make for you.

It's not in the catalog anymore; the website says discontinued. Sigh. I
really like the MP2-MH. My 15 minutes is up.

The NV remains #1 on my planned-acquisitions list, with the Gordon
following right behind it.

--
ha
Iraq is Arabic for Vietnam

[hank alrich]

Scott Dorsey wrote:

What is weird is that the cheap commodity
preamps that we all took for granted because they were part of the console
are now being torn out of old vintage consoles and sold for outrageously high
sums of money.

Good thing some of those Tangent boards weren't modular.

--
ha
Iraq is Arabic for Vietnam

[Paul Stamler]

Give a listen to the little KEL $100 microphone; it might be just what
you're after.

Or an E-V RE15, used on e-bay. Or a Beyer M201, ditto.

Or, jumping way up in price, a Microtech Gefell M940.

Peace,
Paul

[Ben Hanson]

Oof, decisions decisions...I like the John Hardy idea as well. In my
situation I want something that is top-flight quality-wise but also gives
the biggest bang for the buck, which includes future growth. Looking at the
Hardy through that lens, it's hard for that expansion option not to be a
compelling argument compared to the GR. It just wouldn't seem to make sense
NOT to do that. From what I have read the last day or so the general
consensus is that the GR and the Hardy units have slightly different sonic
qualities but that they are equally as respected, so I don't think I can
make a bad decision here. I just hope I can get my hands on them to try them
ahead of time but I think based on their reputations that I could safely buy
either sight-unseen.

The only thing causing me pause here is that the Hardy doesn't have Hi-Z
1/4" inputs, which is a bit of a drag...cause I was hoping to get one really
good mic pre and D.I. for my guitars in one package. That said I'm not sure
that those applications are as discriminating as a mic pre and a vocal mic
in the end, what do you think? My process is normally to get the electric
instruments into the DAW as cleanly as possible and then re-amp them after
the fact, either via outboard gear or software (Amp Farm, Guitar Rig, etc.).
I have a couple of Studio Project's VTB-1's that I use with 50/50 tube/SS
blend for my guitars live, perhaps in this application they would work more
or less as well.

-Ben




"Scott Dorsey" wrote in message
...
Ben Hanson wrote:
Thanks Scott and Hank. What advice do you have in regards to the mic pre?
I'm willing to spend up around 1K and the Great River is seemingly at the
top of that pile based on the reading I have done and the recommendations
of
others.

I like the older Great River, which is in the catalogue but hard to get
them
to make for you. The newer NV model is much more colored. Now, it's a
good
coloration, but I think if you are going to have only one mike preamp it
should be a clean one.

Are there any "sleepers" that might be less expensive but still at
least as good and perhaps better for less, like maybe the Grace 101, the
UA
SOLO's, or an FMR RNP that I should look out for?

The RNP is worth trying, and so is the John Hardy box. Hardy allows you
to buy
the thing in bits and pieces... you get a box with one channel, then you
drop another channel in later, drop metering in later, with no price
penalty.
I like that.

I've heard to avoid
Focusrite unless you can get up into the ISA range which is a bit more
than
$1K, and the Avalon stuff is a bit more as well.

I have never used the Focusrite stuff. Avalon makes some really top grade
gear and they also make at least one model that is rather crappy. The
world
is just like that.

It seems to me that mic pre's don't work the same way as mic's...that is,
whereas a less expensive mic like the RE-20 vs. say something like a
TLM-103
or better might actually be the better mic for the application, it seems
like mic pre's generally are better as you go higher, in nearly all
applications...but I would like to hear your take on that.

For the most part this is the case. What is weird is that the cheap
commodity
preamps that we all took for granted because they were part of the console
are now being torn out of old vintage consoles and sold for outrageously
high
sums of money.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."




--
Posted via a free Usenet account from http://www.teranews.com

[Scott Dorsey]

Ben Hanson wrote:
Oof, decisions decisions...I like the John Hardy idea as well. In my
situation I want something that is top-flight quality-wise but also gives
the biggest bang for the buck, which includes future growth. Looking at the
Hardy through that lens, it's hard for that expansion option not to be a
compelling argument compared to the GR. It just wouldn't seem to make sense
NOT to do that. From what I have read the last day or so the general
consensus is that the GR and the Hardy units have slightly different sonic
qualities but that they are equally as respected, so I don't think I can
make a bad decision here.

The Hardy is more transparent than the MP-2NV, but not as clean as the
original MP-2 that you can't get.

Transparent is good when it's your only preamp.

I just hope I can get my hands on them to try them
ahead of time but I think based on their reputations that I could safely buy
either sight-unseen.

The nice thing about gear of this quality is that dealers expect you're going
to do some serious auditioning before dropping money down, and they are willing
to let you do it, if it means holding your credit card and shipping cross
country.

The only thing causing me pause here is that the Hardy doesn't have Hi-Z
1/4" inputs, which is a bit of a drag...cause I was hoping to get one really
good mic pre and D.I. for my guitars in one package. That said I'm not sure
that those applications are as discriminating as a mic pre and a vocal mic
in the end, what do you think? My process is normally to get the electric
instruments into the DAW as cleanly as possible and then re-amp them after
the fact, either via outboard gear or software (Amp Farm, Guitar Rig, etc.).
I have a couple of Studio Project's VTB-1's that I use with 50/50 tube/SS
blend for my guitars live, perhaps in this application they would work more
or less as well.

So get a Countryman DI and put it in front of the guitar. Or build my
DIY FET DI from the Recording magazine project a few years back... it's
two transistors, two capacitors, and a couple resistors and plugs into
any preamp with phantom power. (The bad thing about it is that it provides
no ground isolation, but that's fine for what you're doing.)
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[hank alrich]

Ben Hanson wrote:

The only thing causing me pause here is that the Hardy doesn't have Hi-Z
1/4" inputs, which is a bit of a drag...cause I was hoping to get one really
good mic pre and D.I. for my guitars in one package. That said I'm not sure
that those applications are as discriminating as a mic pre and a vocal mic
in the end, what do you think?

I think you get all that with the GR as it is, and also from the Hardy
if you put an Evil Twin in front of it.

--
ha
Iraq is Arabic for Vietnam

[Paul Stamler]

"Ben Hanson" wrote in message
.. .

The only thing causing me pause here is that the Hardy doesn't have Hi-Z
1/4" inputs, which is a bit of a drag...cause I was hoping to get one
really
good mic pre and D.I. for my guitars in one package. That said I'm not
sure
that those applications are as discriminating as a mic pre and a vocal mic
in the end, what do you think? My process is normally to get the electric
instruments into the DAW as cleanly as possible and then re-amp them after
the fact, either via outboard gear or software (Amp Farm, Guitar Rig,
etc.).
I have a couple of Studio Project's VTB-1's that I use with 50/50 tube/SS
blend for my guitars live, perhaps in this application they would work
more
or less as well.

For a couple hundred bucks you could pick up a Groove Tubes Brick which is a
much-more-than-decent DI. As a mic pre it's okay for the price but not
great, but as a DI it shines.

Peace,
Paul

[bzb]

"Paul Stamler" wrote in
:

"Ben Hanson" wrote in message
.. .




Not that I know anything about how these compare, but no one's mentioned
the API lunchbox pre (~750), or similar (Buzz, etc.) Also, I have a True
Systems P-solo which I'm enjoying, but my exposure to high-end pre's is
extremely limited.

bzb

--
THE SONG FACTORY
Words and Music, made to order(TM)

WWW: http://www.thesongfactory.com

[Roger Norman]

"Ben Hanson" wrote in message
.. .

I'm in the process of transitioning my project studio into something more
serious and I wanted to see what some of you guys thought about some gear.
On the mic side, my current mic is a Rode NT1A...

I'm always concerned when a person wants to take their studio to something
more serious and say "my current mic".

I'm sorry, while a really good mic pre can do any number of mics right (and
I'd say have a look at the John Hardy pres along with the others on your
list), having only one mic doesn't leave much choice on the mic selection.
Whilst the last mic in the mic closet is always the best choice when you
need one more mic, the only mic in the closet doesn't necessarily fit the
bill. No mic pre will make a mic sound good on a nasally voice whilst a
different mic may well do so. Particularly if you plan to start offering
your services in recording for money.

I'd suggest rethinking your position and look at having a few more mics.
Then consider your options as you need depending on your client's requests.

And if I misinterpretted your "transitioning my project studio into
something more" then I apologize. But the advice is sound, excuse the pun.

--


Roger W. Norman
SirMusic Studio
"Is our children learning yet?" George W. Bush
http://blogs.salon.com/0004478/



but my pre-amps are pretty
cheap...a middle-of-the-road Presonus, and also a Studio Projects VTB-1.
I'm already planning to upgrade to a better mic pre (I'm leaning pretty
heavily towards either a Great River ME-1NV, a Grace 101, or Universal
Audio SOLO/610 or 110...any other suggestions???). I know that the NT1A is
highly regarded for the money and that this will help the mic to sound
even better.

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to
accentuate in the +/- 3 KHz range whereby I have to tweak it a fair bit
with the EQ to get it toned down to where it doesn't fatigue.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should
try, and any thoughts about the mic pre as well?

-Ben


--
Posted via a free Usenet account from http://www.teranews.com

[drichard]

Hi Ben,

I concur with Scott D. that you should at least consider the EV RE-20.
I am not familiar with the Beyer he recommended, but it's probably
good advice to try it too. On my voice the RE-20 is more forgiving
than any of the large-diaphragm condensers I've tried, and it might
work that way for you as well.

Dean



On Apr 6, 2:54 pm, "Ben Hanson" wrote:
I'm in the process of transitioning my project studio into something more
serious and I wanted to see what some of you guys thought about some gear.
On the mic side, my current mic is a Rode NT1A, but my pre-amps are pretty
cheap...a middle-of-the-road Presonus, and also a Studio Projects VTB-1. I'm
already planning to upgrade to a better mic pre (I'm leaning pretty heavily
towards either a Great River ME-1NV, a Grace 101, or Universal Audio
SOLO/610 or 110...any other suggestions???). I know that the NT1A is highly
regarded for the money and that this will help the mic to sound even better.

What I have noticed with the NT1A though is that with my voice it has an
ear-fatiguing presence to it (all jokes aside)...I am a first tenor and my
voice is very clear and fairly bright already. This mic seems to accentuate
in the +/- 3 KHz range whereby I have to tweak it a fair bit with the EQ to
get it toned down to where it doesn't fatigue.

I have located a shop in Atlanta that rents recording gear so I am already
planning on trying out some various mics, but my budget is going to be in
the $500 - $700 range (after I sink $1K into a really good mic pre!) and I
wanted to see what you guys with a lot of experience might recommend for a
high tenor voice that can sound piercing if the mic accentuates the upper
registers at all. In this range I see things like the Rode K2, AKG C4000B,
Studio Projects T3, Rode NT2000, etc. Any recommendations that I should try,
and any thoughts about the mic pre as well?

-Ben

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