Hi Paul. What was the difference between the stock tube and the EF806 tube? Did you also do any other mods? I also found that doubling my RI67 and AEA 44 makes a really thick and rich vocal.

The EF806s is a long lasting, super sounding, Tele EF86.

Could t agree more! If someone relatively new comes here wanting to buy a 8-10k mic, it feels unwise to recommend it in the context of world class “high end” sound being available for a tenth of the price.

High end to be simply means “built to high standards, to perform at a high standard”. That could be most things from boutique vendors like Stam, Beesneez, etc.

At the top end you’re no longer paying for performance, and veteran GS members should be smart enough to understand that.

Agreed. And usually lower noise than a typical tele ef86. (The stock tube is not a problem in this area.)

Understand what?
Chris

I own a C800G, 2x U67, C12/251, and have owed an M49 and many other mics in the past, and I can tell you with absolute certainty that having a properly treated acoustic space is probably the biggest factor in getting a professional sound. Once you have the acoustics are right, you realize how minimal the practical differences are between most well designed microphones. The slight differences will also become more apparent, but overall less exaggerated. After that, I'd rate polar patterns as the next thing that can have the most influence on the sound.

For instance in my opinon the C800G sound best in omni 98% of the time, but you need a decent space to hear that without compromise. The C800G picks up a lot of room compared to other mics.

In constrast with a U67 I can find various uses for cardioid, omni, and to a lesser extent figure 8. And a 67 is more forgiving of the room.

C12/251's are also more sensetive to room sound, while m49's are more relaxed about room ambience. But the truth remains in a tight room, the differece between them and (MUCH cheaper mics) becomes almost negligible.

After that, what makes the biggest difference (in my opinion) of in order of importance:

1. Tubes (obviously only if using a tube mic. Tubes can vary wildly and NOS and NOS tubes are not always better)

2. Compressors (my fave is LA3A types)

3. Preamps (while most preamps are completely servicable, this area can vary wildly)

4. converters.

5. Hardware EQs. Hardware EQs are great for recording and mixing but are optional with where we are with plugins ITB.

In short, in my experince, acoustically treating your room correctly has the most notable effect on the recording and mixing process, but it seems to be the most ignored and misunderstood part of the chain as it causes you to hear everything else in your chain with that much more distinction.

I understand in many cases people either dont have the knowledge, or resources to worry about the space first but when you do, it changes a lot.

Also there are a ton of inexpensive mics that sound subjectively just as good or better than all of the mics either of us has listed.

This!

Exactly. Vipre comes to mind. Aspen Pittman‘s (RIP) demonstration of the input impedance in Vipre and how you can for instance back off and it’s still as if you’re eating the microphone was mind blowing the first time I watched it.

How much compared to 251/c800?

Thanks for that detailed comment

IMO it is better to have less of better than plenty of mediocre (whatever) gears.
If budget allows classic well-recognized brands as safer bet in the long run.
I saw it many times with established brands in the industry.
Many gears (mics) could be really good enough for the task and shine on particular vocals/sources and still for longer periods it becomes clear that great high-end stuff is not appreciated for nothing. There is a certain proven quality that holds.
Purchasing Neumann re-issues or originals as Sony or good vintage classics doesn't only provide the best for the task, but also secures certain asset value protection. I don't think that anything should be purchased purely for investment purchase, but some peace of mind comes with great items and heritage.

This was an entertaining thread. How did your journey go the last few months @OP? Are you happy with your purchases? Did you record something already that you can share?

all those mics better sound fabulous for the price they are asking.You should be saying WOW after using them

I still like “going Ghetto” sometimes.

"As the snow flies [. . .]"
— Mac Davis


Worked for Elvis, though I'm not certain which microphone the studio had him on that day?

Ray H.

Looking through pictures of the King in the studio I found him singing on (of course) an RCA 77, M49, U47 and some handheld mics which I'm assuming were during rehearsals.

His vocals on the record sound nice and smooth, balanced and rich. I'm gonna guess that it's a 47.

It's a stupid question, you need to buy all 3. I got the c800g, the Beesneez bn251 and will get the bn49 next.

EV RE15 with foam shield!
I had a number of classic EV’s.
Among them 2(!) RE15’s.

Unfortunately, the EV’s I had (including 2 666’s)
weren’t the best Dynamics on me.
Nowadays…

Lewitt makes a fantastic Dynamic.
The 550 DM.


Right up there with M88/441 (on me)
IMHO my flukey good AKG D790 is pretty exceptional too.

Haven’t tried the RE27 that Ward digs yet.
Chris

I could opine here about summet suitable that might be incoming, but it wouldn't be proper, as my avatar says I am not officially unbiased anymore. So I won't.