Mic Shootout

[Carl G.]

I was in New York City last week and visited B&H Sound Room to test Mic-MicPre combinations. Great room... "Joe" was informative and very helpful there.
I wanted to compare the Neumann U87 against the TLM49, TLM149 and the Mohaves' 300 Tube, and MA301 Fet, all for Voice Over needs only. (I've been less and less impressed with the U87 lately and seem to favor my AKG 414UBLs.

Using a Grace 101 pre, the TLM49 seemed so much better than the U87... but they didn't have a 149 there to compare with the 49.

Has anyone worked the TLM 49 and 149, to give a comparison?

Also tried the Mohave 300 Tube - clean/flat, vs the MA301FET - a surprising 'in your face' presence with the MA301FET (flattering sound), but seemed to lake the clear transparency of the TLM49. Does anyone care to comment on their use of the Mohave's?

BTW... also compared lots of headphones on same source - for the money - no doubt the V-6's far ahead of the pack, even compared to much higher $ brackets! Beyer Dynamics D770 Pro sounded good too - but diff price tag.

Also, tried the Avalon pre vs the Focusrite..... wow... Grace 101 sure sounds clean, the Avalon pleasing, and I'm glad I heard the Focusrite - because I *was* thinking of getting one.

I walked away empty handed (sorry Joe) - still wanting to hear "Ultimate Mic/MicPre" combo (for me). Another trip is in store :) (the only way to judge)
But I'd be interested your input.

[Carl G.]

Carl,
A lot of our talents in various cities and varying degrees of expertise, use the TLM103. It sounds great with many types of preamps. But, if you're on the never ending search for the perfect combo, good luck.:)

Thanks for the info, Stash. I wasn't sure how many actually used it. I did try the TLM103 last week - sounded good, but for me it wasn't as clear or warm as the TLM49. I'm very curious about the sound of the 149 (which they didn't have).

[Sean McCoy]

My U-87 is a 1972 and does sound really nice. Much smoother and sweeter than the newer U-87's I've tried, but with a much lower output. While I have a pretty extensive mic locker and switch things up as necessary, my favorite all-around mic for both vocals and VO's is the Gefell UMT70s. Highly recommend you include one in your next shootout if they have one around. I've also heard lots of good things about the Gefell M930 for VO. The only TLM I've used is a 103, and it's a good—but not great—mic. I've used a Mojave 300 at another studio several times. Surprisingly nice mic with a good balance of presence and warmth. Probably wouldn't be my first choice as an all-purpose mic, but a contender nonetheless.

Preamp-wise, the M101 is indeed very clean, with lots of headroom. I used to have a pair, but have since replaced them with a Buzz MA-2.2 for super-clean duties. When I want character, my preamp of choice is my Aurora GTQC. A pretty pricey and somewhat hard to get unit, though. I recently added an Avedis MA-5 and have to say I like it almost as much. Really big and round, with a killer 28k air boost. If you're into the 500 series stuff and they have one in stock, that's another unit I'd recommend giving a listen.

[MMP]

IMO, shootouts are difficult paths to purchase, unless they can be done in the context of your production environment.

Like speakers, every mic can be thought of as a filter. For me, it is hard to make worthwhile judgements about gear unless it is in my room, connected through my speakers and used on a source I know well, in the context of the work at hand.

One mic might sound fuller and more pleasing isolated, but in the context of a production too full and not forward enough in the mids to work well, for example.

My advice is to find a rental company or friends with deep mic lockers and try them all in your personal studio within your workflow.

[Carl G.]

My U-87 is a 1972 and does sound really nice. Much smoother and sweeter than the newer U-87's I've tried, but with a much lower output. While I have a pretty extensive mic locker and switch things up as necessary, my favorite all-around mic for both vocals and VO's is the Gefell UMT70s. Highly recommend you include one in your next shootout if they have one around. I've also heard lots of good things about the Gefell M930 for VO. The only TLM I've used is a 103, and it's a good—but not great—mic. I've used a Mojave 300 at another studio several times. Surprisingly nice mic with a good balance of presence and warmth. Probably wouldn't be my first choice as an all-purpose mic, but a contender nonetheless.

Sean, thanks for the input on the 87 - that explains what I was hearing. The Mojave 300 (to me) could replace an 87 nicely (and without that room within a room sound of the 87). Glad to hear you give it good marks.

I've only tried the Gefell's out back in the mid 90's - I remember they had extremely good presence. I'll definitely put your Gefell suggestions into my next shootout mix.

On the Pre's/Processing: Seemed like for the price that Grace is a great deal. And, now that I decided against the Focusrite Pre.... the desired 430 ProducerPack is out of the question. I like the Avalon 737 but it still doesn't offer the flexibility I'd like.
I want to gate between the mic pre and Compr. and side chain the compression through a parametric EQ (for my own control on dynamic EQ and DeEssing).
I wonder if various combos in the 500 series would allow me to do that?

[Carl G.]

IMO, shootouts are difficult paths to purchase, unless they can be done in the context of your production environment.

Like speakers, every mic can be thought of as a filter. For me, it is hard to make worthwhile judgements about gear unless it is in my room, connected through my speakers and used on a source I know well, in the context of the work at hand.

One mic might sound fuller and more pleasing isolated, but in the context of a production too full and not forward enough in the mids to work well, for example.

My advice is to find a rental company or friends with deep mic lockers and try them all in your personal studio within your workflow.

You're sure right Dave. But I'm not there yet. I want to narrow down equipment... and swapping out 8-10 different combinations of gear is not economical or fun for the dealer. :) I meant to record my tests to bring them back into the studio - but I forgot the recorder!

[MMP]

Dave? Ha!

[bcorkery]

:D

[Dave Labrecque]

Dave? Ha!

Hey, what's wrong with Dave?

[MMP]

We've been asking that question for a few years now. :D

[Dave Labrecque]

We've been asking that question for a few years now. :D

:p :mad:

[Dave Labrecque]

(;))