I have a small home studio at, uhm, my home where I have done mostly
jazz groups. I had some mics but all the good ones were on loan.
After about 3 years my friend stopped by yesterday and took them all
back. So now I have VERY few mics and not good ones at that. Here are
some specifics.

After the Senn. MD421, 2 Neumann KM184's, and 2 Beta 58's walked away I
am left with:

1 SM58
4 SM57s
1 Beta 52
1 Oktava MK219
and a Samson R11 (just put that in for flavor)

I have an 8-channel interface into my computer.
I have the passion and I'm learning stuff everyday, I just lack some
experience and years of playing with stuff. I don't know much about
Sennheiser, AKG, and Beyerdymamic mics, but I've heard some good stuff
about some of their lower priced models. I would love to get more mic
than a 58 for less money than a 58.

Thanks.

- Steve

wrote in message
oups.com...
I have a small home studio at, uhm, my home where I have done mostly
jazz groups. I had some mics but all the good ones were on loan.
After about 3 years my friend stopped by yesterday and took them all
back. So now I have VERY few mics and not good ones at that. Here are
some specifics.

After the Senn. MD421, 2 Neumann KM184's, and 2 Beta 58's walked away I
am left with:

1 SM58
4 SM57s
1 Beta 52
1 Oktava MK219
and a Samson R11 (just put that in for flavor)

I have an 8-channel interface into my computer.
I have the passion and I'm learning stuff everyday, I just lack some
experience and years of playing with stuff. I don't know much about
Sennheiser, AKG, and Beyerdymamic mics, but I've heard some good stuff
about some of their lower priced models. I would love to get more mic
than a 58 for less money than a 58.


You have enough of the SM58 variety. You need a a pair of small diaphraghm
condensers. See if you can get a pair of Oktava MC012s or similar.

Predrag

we need specifics:
1) your budget
2) the ensembles you intend to record

we need specifics:
1) your budget
2) the type of ensembles you intend to record

I will mainly be doing recordings of jazz groups since that's the scene
I'm the most plugged into, but I would also be able to record a band
with a singer if I need to.
My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0. Basically
I'm looking at under $100 per mic, perhaps a little more for some small
diaphraghm condensors if I have to. I don't make much money from the
studio (at least not yet), so I want to get it back up and running and
sounding ok for as little money as possible.

I was talking to a guy tonight and he suggested the AKG D880. Is that
a good idea? Or is that you (Predrag Trpkov) meant by "enough of the
SM58 variety."?

wrote in message
oups.com...
I will mainly be doing recordings of jazz groups since that's the scene
I'm the most plugged into, but I would also be able to record a band
with a singer if I need to.
My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0. Basically
I'm looking at under $100 per mic, perhaps a little more for some small
diaphraghm condensors if I have to. I don't make much money from the
studio (at least not yet), so I want to get it back up and running and
sounding ok for as little money as possible.

I was talking to a guy tonight and he suggested the AKG D880. Is that
a good idea? Or is that you (Predrag Trpkov) meant by "enough of the
SM58 variety."?

For instrumental jazz ensembles, if you have a decent room start by saving
up for a pair of matched Oktava MC012s from the Sound Room. You can do a
hyge amount with those in an XY or ORTF pair, again provided the room is
decent. Then, if you want under $100 mics for multimiking, I'd start
haunting ebay, looking for some Electro-Voice RE-15s, Beyer M201s and M260s,
if you're *real* lucky an M88. The M260 will sound great on many female
vocalists, the M88 will sound great on many males. Maybe the KEL people are
talking about on another thread. Otherwise, in that price range I'd avoid
large-diaphragm condensers, since most of the ones that are that cheap are
pretty crappy-sounding.

Peace,
Paul

wrote in message
oups.com...
I will mainly be doing recordings of jazz groups since that's the scene
I'm the most plugged into, but I would also be able to record a band
with a singer if I need to.
My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0. Basically
I'm looking at under $100 per mic, perhaps a little more for some small
diaphraghm condensors if I have to. I don't make much money from the
studio (at least not yet), so I want to get it back up and running and
sounding ok for as little money as possible.

I was talking to a guy tonight and he suggested the AKG D880. Is that
a good idea? Or is that you (Predrag Trpkov) meant by "enough of the
SM58 variety."?

No mic is a bad idea, but the dynamic mics that you already have should be
enough for close miking of the elements/shells of an average drum kit, even
if the music is pop/rock. However, you don't have a suitable pair of mics
for area miking, from drum overheads on. Since area (distant) miking is a
widely used technique in recording jazz, I believe that (at least) a pair of
small diaphraghm condensers should be a no-brainer decision in your
situation.

Predrag

wrote:
I will mainly be doing recordings of jazz groups since that's the
scene
I'm the most plugged into, but I would also be able to record a band
with a singer if I need to.
My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0.
Basically
I'm looking at under $100 per mic, perhaps a little more for some
small
diaphraghm condensors if I have to. I don't make much money from the
studio (at least not yet), so I want to get it back up and running
and
sounding ok for as little money as possible.

I was talking to a guy tonight and he suggested the AKG D880. Is
that
a good idea? Or is that you (Predrag Trpkov) meant by "enough of the
SM58 variety."?

The D880 is a neat stage dynamic, but you've got that covered
by the 58. I would be concerned about replacing the function
of the 184's:
pair of Octava 012's -or-
" Rode nt5's -or-
" Studio Project C4's -or-
" AKG c391's -or, you get the idea-
Jazz just about demands a clean pair of drum overheads.
Don't let any more of what you have get away,
and later on you can get another 421 or something like
that and maybe one of the ribbons. You may also get
some use of an omni dynamic like a EV 635A for $50 or
less.

good luck
rd

In article .com writes:

My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0.

Well then, you have a problem. At least the mics walked away with the
friend who was loaning them to you rather than walking away with a
thief.

When it comes to $100 mics, they're all different (even if you bought
all of the same model) and probably the best ones for you are those
that you can buy locally, from a dealer who trusts you and will let
you exchange them if they don't work out. It doesn't matter if he
doesn't carry five different $100 small diaphragm condensers. If he
carries one, buy it and try it. If it doesn't work for you, probably
a different one wouldn't work either and you need something else.

Since you're talking about jazz groups which, in general, balance
themselves pretty well, you might be ahead of the game by buying
fewer, higher quality mics and learning about minimalist recording
techniques - a good overall stereo pickup (two $500 mics), a mic for
the singer, and maybe one for the bass drum.

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

I've seen a number of people recommend the EV635A, but what would I
need an omni for? I don't tend to do much live recording so I don't
need to mic an audience.

ok, now we can party:

1) jazz groups. this means quieter sounds (compared to a heavy metal
rock band). so you can use a mic that captures subtlety, a sense of
space, and detail. you're going to want as many condenser mics as you
can get your hands on. forget dynamics, except maybe for a kick drum
spot mic or a spot mic in other situations. basically you are going to
want to get some condenser mics, and then have your existing mics fill
in the holes around the condensers.

2) budget. the Octava MK-012 is a great small diaphragm condenser mic
for the budget. guitar center was pumping them out at insanely low
prices for a while. but i don't think they are carrying them any more.
it used to be $99 each, then it was 2 for $99, which was completely
insane.

the other mic package is to look into the MXL 990/991 package that
guitar center/musicians friend carries for $99. the 990 is a large
diaphragm condenser mic, and the 991 is a small diaphragm condenser
mic. the 990 actually has quite a good amount of high-end "air" that
engineers typically crave, and it's also not noisey. the 991 the
small-diaphragm condenser that comes in the package. its decent too,
but not quite as killer as the 990.

so i would do this:
a pair of Octava MK-012's,
plus either two MXL 990s ($60 each)
or the MXL 990/991 package for $99.

if you have to go super cheap, just get the single MXL 990 for $60,
which comes with a shockmount and a nice case. you need at least one
condenser mic in there. then add the others over time.

Is there a difference between the Oktava MC-012s and the Mk-012s?--MAtt



wrote:
ok, now we can party:

1) jazz groups. this means quieter sounds (compared to a heavy metal
rock band). so you can use a mic that captures subtlety, a sense of
space, and detail. you're going to want as many condenser mics as
you
can get your hands on. forget dynamics, except maybe for a kick drum
spot mic or a spot mic in other situations. basically you are going
to
want to get some condenser mics, and then have your existing mics
fill
in the holes around the condensers.

2) budget. the Octava MK-012 is a great small diaphragm condenser
mic
for the budget. guitar center was pumping them out at insanely low
prices for a while. but i don't think they are carrying them any
more.
it used to be $99 each, then it was 2 for $99, which was completely
insane.

the other mic package is to look into the MXL 990/991 package that
guitar center/musicians friend carries for $99. the 990 is a large
diaphragm condenser mic, and the 991 is a small diaphragm condenser
mic. the 990 actually has quite a good amount of high-end "air" that
engineers typically crave, and it's also not noisey. the 991 the
small-diaphragm condenser that comes in the package. its decent too,
but not quite as killer as the 990.

so i would do this:
a pair of Octava MK-012's,
plus either two MXL 990s ($60 each)
or the MXL 990/991 package for $99.

if you have to go super cheap, just get the single MXL 990 for $60,
which comes with a shockmount and a nice case. you need at least one
condenser mic in there. then add the others over time.

wrote:
I've seen a number of people recommend the EV635A, but what would I
need an omni for? I don't tend to do much live recording so I don't
need to mic an audience.

For anything you'd ever want to record where you don't want a presence
peak, you don't want proximity effect, and where you want the low end
cut. It's probably the most versatile dynamic mike around. It's great
for vocalists that can't stay on-mike because of the omni pattern. It's
great on guitar amps. It's even a nice choice on electric bass when you
want to tailor the bottom end off. If you had to own only one dynamic,
the 635A is probably the one to have.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

You might be happy with a couple of the Chinese built mics. These vary
in quality, but many have their advocates. I like some of the
Marshalls, specifically the MXL 603, the V67G and the V69ME (all on
the recommendation of Harvey Gerst). Others here like various Nadys,
and Rodes.

You can do a Google search on this group for various models and
brands.

OTOH, you could re-post your question by specifying what you theed the
extra mics FOR. Horns? Keys? Drums, etc. Buy what you need for a
specific purpose rather than what you think you need. This, however,
is a piece of advice that I must admit I have followed hardly at all.
The one exception is a Beyer M160 that I got to record trumpets.

On 7 Jan 2005 15:16:01 -0800, wrote:

I have a small home studio at, uhm, my home where I have done mostly
jazz groups. I had some mics but all the good ones were on loan.
After about 3 years my friend stopped by yesterday and took them all
back. So now I have VERY few mics and not good ones at that. Here are
some specifics.

After the Senn. MD421, 2 Neumann KM184's, and 2 Beta 58's walked away I
am left with:

1 SM58
4 SM57s
1 Beta 52
1 Oktava MK219
and a Samson R11 (just put that in for flavor)

I have an 8-channel interface into my computer.
I have the passion and I'm learning stuff everyday, I just lack some
experience and years of playing with stuff. I don't know much about
Sennheiser, AKG, and Beyerdymamic mics, but I've heard some good stuff
about some of their lower priced models. I would love to get more mic
than a 58 for less money than a 58.

Thanks.

- Steve


Willie K. Yee, M.D. http://users.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org

Paul Stamler wrote:

Then, if you want under $100 mics for multimiking, I'd start
haunting ebay, looking for some Electro-Voice RE-15s, Beyer M201s and M260s,
if you're *real* lucky an M88. The M260 will sound great on many female
vocalists, the M88 will sound great on many males.

With the caveat that an M260 wants a real preamp. It's not as
insensitive as the M160, but it wants more than, say, the M500. It's not
a pretty thing with the low-end "prosumer" pres with which I've tried
it. Great mic, though. Seems to have a slight midrange distortion in
combo with certain pres, including my GR MP2-MH. I think it's to do with
how the transformers combine, but what do I know, besides that it's
there. Sometimes it's a nifty bite and sometimes it just bites.

--
ha

wrote:

My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0

Here's one view: you can spend a little now, a little later, and little
a little later than that, and wind up spending as much as if you just
went ahead and bought a matched pair of Josephson Series 4's from
Mercenary. Yeah, that's way more than "$0", but if you get what you pay
for...

--
ha
"If you get one noxious piece of **** device in your signal chain,
you will get a bad result and there is no magic cure that will undo
this." Scott Dorsey

The Beyer M201 was also labeled as the Revox 3500 and sometimes that
version slips under the radar & sells for a lower price, worth
searching for on ebay. The EV RE-15 is a great little mic, I had a pro
male vocalist cutting a demo & the $50 RE-15 sounded way better on him
than any of the more expensive condensor mics I tried.

Al

On Sat, 08 Jan 2005 19:32:55 GMT, (hank alrich)
wrote:

Paul Stamler wrote:

Then, if you want under $100 mics for multimiking, I'd start
haunting ebay, looking for some Electro-Voice RE-15s, Beyer M201s and M260s,
if you're *real* lucky an M88. The M260 will sound great on many female
vocalists, the M88 will sound great on many males.

With the caveat that an M260 wants a real preamp. It's not as
insensitive as the M160, but it wants more than, say, the M500. It's not
a pretty thing with the low-end "prosumer" pres with which I've tried
it. Great mic, though. Seems to have a slight midrange distortion in
combo with certain pres, including my GR MP2-MH. I think it's to do with
how the transformers combine, but what do I know, besides that it's
there. Sometimes it's a nifty bite and sometimes it just bites.

Anybody know anything about the Samson C-02 small diaphraghm
condensors? Through a connection I have I could get a pair for
something in the upper $60's. Thanks.

wrote:
Anybody know anything about the Samson C-02 small diaphraghm
condensors? Through a connection I have I could get a pair for
something in the upper $60's. Thanks.

Raspy, bumpy response. Inconsistent.
Basisally fails the 'keys test'.
A cheap knock-off of a copy of an imitation
of a real mic.
Mics like this should _not_ be sold in pairs
unless you get to select the pairing, which is
what I would suggest anyone do anyway ...
You can whole lot better.
Buy mics made by a mic company.

rd

Because of the physics involved in building a directional mic,
an omni will generally have smoother response, as well as
the lack of bass boost when used close up (proximity).
No proximity effect and less directionality combine to make
the omni a little more forgiving about placement.
Some omnis do have 'presence' (such as the 635a)
but it's a gentle broad rise rather than a sharp peak.

rd

"hank alrich" wrote in message
. ..
Paul Stamler wrote:

Then, if you want under $100 mics for multimiking, I'd start
haunting ebay, looking for some Electro-Voice RE-15s, Beyer M201s and
M260s,
if you're *real* lucky an M88. The M260 will sound great on many female
vocalists, the M88 will sound great on many males.

With the caveat that an M260 wants a real preamp. It's not as
insensitive as the M160, but it wants more than, say, the M500. It's not
a pretty thing with the low-end "prosumer" pres with which I've tried
it. Great mic, though. Seems to have a slight midrange distortion in
combo with certain pres, including my GR MP2-MH. I think it's to do with
how the transformers combine, but what do I know, besides that it's
there. Sometimes it's a nifty bite and sometimes it just bites.

Right you are, on all counts. One other thing to know: sit down at a clean
bench with a pill bottle and some micro-screwdrivers, and an M260. Take out
the screws in the ring around the ball, and remove the front of the ball.
There's the ribbon assembly, with a light plastic frame on the front holding
a very light mesh screen. See if that frame is attached tightly to the
assembly -- I think it was originally glued. If it's loose, it'll vibrate at
certain frequencies. Use a couple of tiny pieces of 3M StripCalk to hold it
in place and damp vibrations. Cleans up the mike like nobody's business. Oh,
yeah, the pill bottle is to hold the tiny screws.

Peace,
Paul

In article .com writes:

Anybody know anything about the Samson C-02 small diaphraghm
condensors? Through a connection I have I could get a pair for
something in the upper $60's. Thanks.

Any mics that you can get for $30-$35 are worth that. Go for it.

Don't expect that they'll be any competition for mics selling for
$1,000, but you might get lucky and they'll compare favorable with
mics selling for $100.



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article .com,
wrote:

the other mic package is to look into the MXL 990/991 package that
guitar center/musicians friend carries for $99. the 990 is a large
diaphragm condenser mic, and the 991 is a small diaphragm condenser
mic. the 990 actually has quite a good amount of high-end "air" that
engineers typically crave, and it's also not noisey. the 991 the
small-diaphragm condenser that comes in the package. its decent too,
but not quite as killer as the 990.

If you actually look into it, both mics have teh same size diaphragm


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Paul Stamler wrote:

One other thing to know: sit down at a clean
bench with a pill bottle and some micro-screwdrivers, and an M260. Take out
the screws in the ring around the ball, and remove the front of the ball.
There's the ribbon assembly, with a light plastic frame on the front holding
a very light mesh screen. See if that frame is attached tightly to the
assembly -- I think it was originally glued. If it's loose, it'll vibrate at
certain frequencies.

My M260's were bought new just before they offered the "improved" model
without low end response, so I don't think they're rattling, yet. g

But My M500's have been opened several times to put that little mesh
quonset hut back in its place. They weren't just vibrating; they doubled
as baby rattles.

Use a couple of tiny pieces of 3M StripCalk to hold it
in place and damp vibrations. Cleans up the mike like nobody's business. Oh,
yeah, the pill bottle is to hold the tiny screws.

Tiny is right; I think they stole 'em from a watch repair shop.

--
ha

So, with everyone recommending small diaphragm mics for everything
(even the KM84 gets praise for vocals when used with the proper pop
screen), is there anything that a large diaphragm mic is actually good
for?

I think the reason why I'm prompted to ask in this manner is that for
some reason, "large diaphragm" and "small diaphragm" have become a
desciptor of microphones as if it was meaningful, and it really isn't.
The fact that there are more smoother sounding small diaphragm mics
than large diaphragm mics (most likely because it's easier to make
them that away) may contribute to the preference, and the reason why
people use inexpensive large diaphragm mics at all is because they
look right for the purpose.

OK, I know when to take out my U87s, but not everyone has U87s,
and not everyone likes U87s (on anything).

Debate and discuss, for 20 points.



--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

On 9 Jan 2005 14:47:02 -0500, (Mike Rivers) wrote:


So, with everyone recommending small diaphragm mics for everything
(even the KM84 gets praise for vocals when used with the proper pop
screen), is there anything that a large diaphragm mic is actually good
for? snip

Far field mic position with orchestral music, for one.

I think the reason why I'm prompted to ask in this manner is that for
some reason, "large diaphragm" and "small diaphragm" have become a
desciptor of microphones as if it was meaningful, and it really isn't.
The fact that there are more smoother sounding small diaphragm mics
than large diaphragm mics (most likely because it's easier to make
them that away) may contribute to the preference, and the reason why
people use inexpensive large diaphragm mics at all is because they
look right for the purpose. snip

A cheap small diaphragm is pretty much going to sound worse than an
expensive, well designed large. It's not the size, but what they (the
engineers) do with it.

OK, I know when to take out my U87s, but not everyone has U87s,
and not everyone likes U87s (on anything). snip

Well, if all they record is whiney chick voices or screaming rockers,
I can see why!

dB

Mike Rivers wrote:

So, with everyone recommending small diaphragm mics for everything
(even the KM84 gets praise for vocals when used with the proper pop
screen), is there anything that a large diaphragm mic is actually good
for?

With little attention to detail, in a hurry to finish assembling a CDR
for bandmates with whom I'd soon play a wedding, I put the B6/C451 out
in front of me at arm's length, literally, and cut a few quick originals
for my mates. It was hooked to the GTQ2, and the resulting acoustic
guitar sound was one of the finest I have ever managed to capture. (I
was playing my generic 100 yr. old parlor guitar.)

I think the reason why I'm prompted to ask in this manner is that for
some reason, "large diaphragm" and "small diaphragm" have become a
desciptor of microphones as if it was meaningful, and it really isn't.

We often talk about the difference in off-axis response between large
and small cap mics, and often that is relevant. But plenty of the cheap
small caps condensors seem to have pretty atrocious off-axis response,
so like all generalizations, specific cantext can suggest otherwise.

The fact that there are more smoother sounding small diaphragm mics
than large diaphragm mics (most likely because it's easier to make
them that away) may contribute to the preference, and the reason why
people use inexpensive large diaphragm mics at all is because they
look right for the purpose.

They still probably sound different on-axis, too, even if they do look
pretty cool. And with higher sensitivity one needn't turn up the crappy
preamp in the prosumer mixer so far that it starts to really impair a
signal. g I love the pics of someone singing into the end of a C414.

OK, I know when to take out my U87s, but not everyone has U87s,
and not everyone likes U87s (on anything).

Right, but I'm with the camp that thinks they are one of the all time
great, versatile mics.

Debate and discuss, for 20 points.

Damn! I already have 20 points; what's the point?

--
ha

I do lots of jazz recordings. A couple of good little mics are the MXL 603s
for overheads, piano, even acoutic guitar. For anything horn related I like
a nice Shure SM7 but an RE20 is fine. I use another MXL (V67G) for sax and
vocals if it fits.

One of my better SM57 replacements is the ATM63He, but it's a little more
than a standard 57 purchase price. Much better though and worth the money,
IMHO. I also picked up a pair of MXL 990s (LDC transformerless) and they
have worked on virtually everything I've tried them with (well, not so much
that good for an upright bass). These are most certainly inexpensive, but
they did a good job on acoustic steelstring guitar in an XY at 24" and for
both lead guitarists at a country show right in front of the amps (had space
problems). I also used them in my main room at a local jazz festival (5
days of festival) on a Steinway and they did a fine job. Not quite the same
as the 603s in past years, but probably fit the sound of a Steinway better.
The 603s would sound better on a Yamaha C7 though (speculation or at least
my first choice).

AKG 535s are an excellent multipurpose condenser but they are around the
$200 range. It's nice to have some multipurpose mics though, and these work
as well for vocals as they do for guitar amps, which can't be said of a 58.

Or check ebay and see if you can come up with some beyer M130 ribbons
(figure of eight which works well in Mid-Side stereo applications as well as
regular side address). Again, more money, but really nice if you run into
jazz with horns or reeds. Even nice on guitar amps but ribbons are fragile,
so be aware. They also typically don't like phantom power, so if you only
have global phantom that could be a concern.

I guess the point being that you can pick up a lot of different mics to fill
out your studio, but I would look to things that fit more into the
multipurpose, or things that most exactly fit specific requirements. The
latter are generally more expensive, but it's always better to save your
money and get what works rather than just buying mics and then having to
work with just what you have.

Also, check around. You may find a rental service that supplies larger
facilities with quality mics. Sometimes it's almost as good as having the
mics in your mic closet anyway and you get to charge the exact cost directly
to your client.

--


Roger W. Norman
SirMusic Studio

wrote in message
oups.com...
I will mainly be doing recordings of jazz groups since that's the scene
I'm the most plugged into, but I would also be able to record a band
with a singer if I need to.
My budget is a much harder question. I just decided I had bought
enough equipment and I was finished for a long period of time, then
most of my mics walked away. So ideally I want to spend $0. Basically
I'm looking at under $100 per mic, perhaps a little more for some small
diaphraghm condensors if I have to. I don't make much money from the
studio (at least not yet), so I want to get it back up and running and
sounding ok for as little money as possible.

I was talking to a guy tonight and he suggested the AKG D880. Is that
a good idea? Or is that you (Predrag Trpkov) meant by "enough of the
SM58 variety."?

In article .com
writes:

Anybody know anything about the Samson C-02 small diaphraghm
condensors? Through a connection I have I could get a pair for
something in the upper $60's. Thanks.

I'd stick to the old stand-by's, SM 57's etc. I do have a pair of Studio
Projects C1's that are a real good sounding mic for $200.00 (US).
There is a Behringer (forget the model) small condenser that I've seen some
good revues on but I have not used.

"Raymond" wrote in message
...

There is a Behringer (forget the model) small condenser that I've seen
some
good revues on but I have not used.

The ECM-8000, perhaps? I picked up a pair (WTF, for $39 each, they'd make a
good doorstop once wedged underneath it if I couldn't find a better use for
'em,); I was not very impressed - I still am not. I'll keep them, though,
because you never know, they don't entirely suck, IMO; so maybe I'll find a
use for them someday. At that price, what've you got to lose?

Just a very plain/no character/not-all-that-crystal-clear omni, in my
opinion.

Neil Henderson