# Small condenser mics, opinions



## José Herring (Sep 4, 2012)

Hi,

I was wondering if anybody had any recommendations for mid priced small condensors. I know the good high priced ones, but I'm in the market for something that is around $400 or less.

Thx,

Jose


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## Nick Batzdorf (Sep 4, 2012)

I really like the pair of Oktava MK019s I have. My pair is very well matched, and they sound like Neumann KM81s (but not the newer KM181s). But you have to be careful to get a well matched pair, because like all third-world mics, there can be a variance from mic to mic. Also, I have the cardioid capsules only - they also have an omni and I think hypercardioid.

What are you going to record with them?


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## José Herring (Sep 4, 2012)

Nick Batzdorf @ Tue Sep 04 said:


> I really like the pair of Oktava MK019s I have. My pair is very well matched, and they sound like Neumann KM81s (but not the newer KM181s). But you have to be careful to get a well matched pair, because like all third-world mics, there can be a variance from mic to mic. Also, I have the cardioid capsules only - they also have an omni and I think hypercardioid.
> 
> What are you going to record with them?



Mostly solo instruments, overdubs, perhaps the occasional small ensemble.

I'm having good effect recording instruments with a combination of my large condenser and my Oktava MK-012. So I was looking for something that was maybe a little more than the Oktava I have. I'll look into the MK019s. Is that the newer version of the MK-012?


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## Nick Batzdorf (Sep 4, 2012)

No, it's me not remembering the model number right.


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## Gusfmm (Sep 4, 2012)

Jose- any reason why it has to be SDC? If what you have in mind is solo instruments such as your clarinet, have you thought about giving a ribbon a try? If you were to record in a worthwhile acoustic space, I'd definitely try a couple ribbons in blumlein. Cost may go a bit over your budget though.

On the other hand, I personally love my Beyer M201TG for close-mic'ed instruments (e.g guitar). It is a dynamic, not SDC, but I prefer it to most SDC I've tried. Not cheap for a dynamic... but for a good reason. I often combine it with either a ribbon or a LDC, just for color and flexibility.


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## synthetic (Sep 4, 2012)

Does anyone have experience with Shure KSM-141? I'm thinking about a pair of these next. You can switch them between Cardioid and Omni and there's a stereo set available for around $800. 

Jose, have you seen this article? Nice roundup and conclusions on SDCs: 

http://www.charteroakacoustics.com/pressDocs/TapeOp72_SDCshootout.pdf (http://www.charteroakacoustics.com/pres ... ootout.pdf)


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## Tod (Sep 4, 2012)

AKG 451s, great pencil mics. You'll want two of them for stereo. :wink:


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## José Herring (Sep 4, 2012)

Nice find synthetic.
Tod AKG's look good.


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## wst3 (Sep 4, 2012)

Can you elaborate a little more on what you'll be recording? Or perhaps the answer is anything that gets in range?

OK, I record mostly guitars, mandolins, the rare but appreciated fiddle, violin, and cello, guitar amps, hand percussion toys, and the like with SDCs. I've also used them as overhead pairs for drum kits, stereo pairs for ensembles, pretty much all your standard applications.

And for those tasks I use the following:

AKG C-451s, the old ones with the swappable capsules. They definitely have their own sound, but I happen to like it, especially on percussion.

Neumann KM-84s - don't own them so I have to rent them, so they only get used when I really want that sound. Again, they have their own sound, but for acoustic guitars played in almost any style they rule. You should probably listen to the KM-184s as well, but I never acquired a taste for them. They are different, not better, not worse. Mercenary Audio has a microphone they designed/built that is supposed to be very close to the original KM-84, haven't used them, but the recordings I've heard make me want to try a pair!

Schoeps CMC6/MK41 - again I still have to rent them when I need them, but perhaps the most honest, neutral microphone I've ever used. They work well on anything and everything, unless you want that KM-84 or C-451 sound<G>!

Audio Technical 40xx - I have the 4031, it's a little noisy, but if you stick it up next to a guitar or amplifier you won't notice. The 4051s are much quieter, but I'm saving my pennies for a pair of KM-84s, so I haven't gotten around to buying them yet.

Shure KSM-141 - I happen to think that the KSM-32 and 44 are two incredibly cool microphones, so maybe I was expecting too much, but I thought the 141 was a bit lackluster.

Earthworks - any of them. While not a DPA or Schoeps, these things are killer accurate and honest, for a lot less $. I have a pair of cardiods and a pair of omnis, and I use them a lot, the cardiods more than the omnis, but that's cause I don't get to record in great spaces as much as I'd like.

Sennheiser MKH-405 - another omni, and a bit on the noisy side, but sweet sounding, and awesome for ensemble work.

The Oktavas can be great, or they can be so-so, as Nick pointed out. If I had a chance to run through a batch of them I might, but I haven't had the chance.

For a bit more you might want to check out Josephson, their microphones lean towards honest rather than colorful, but I have enjoyed using them when I've had the chance.

Lastly (I promise) there are a couple other brands that seldom get mentioned, but are worth checking out - Avlex, Superlux, and CAD all make very good microphones. I've limited experience with CAD, but they always behaved well for me. I've no direct experience with Avlex or Superlux, but the recordings of them I've heard have been very impressive.

I don't think there is a one size fits all microphone, and you already knew that, so plan to have some fun!


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## José Herring (Sep 4, 2012)

Thanks for the info.

Hmmmm... to record I tend to prefer specific mics.

First, I lean heavily on large diaphram condensers for just about everything. On top of that I use the following.

I like micing solo woodwinds up close and getting more detail by adding the small condenser with the large ones.

I don't yet record in stereo pairs. I think if I did more ensemble recording I would or if I had a larger space to record. I'm basically doing mono recordings up close and personal.

Drums I like to use dynamic mics with the large condenser.

I basically do recording for private samples and for solo overdubs at the moment. 

Hope that helps more.


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## Nick Batzdorf (Sep 4, 2012)

Now, you said $400. If you hadn't said that I would have gone straight to the Royer ribbon mic. I've tried two different models, and they're fabulous.


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## José Herring (Sep 4, 2012)

Gusfmm @ Tue Sep 04 said:


> Jose- any reason why it has to be SDC? If what you have in mind is solo instruments such as your clarinet, have you thought about giving a ribbon a try? If you were to record in a worthwhile acoustic space, I'd definitely try a couple ribbons in blumlein. Cost may go a bit over your budget though.
> 
> On the other hand, I personally love my Beyer M201TG for close-mic'ed instruments (e.g guitar). It is a dynamic, not SDC, but I prefer it to most SDC I've tried. Not cheap for a dynamic... but for a good reason. I often combine it with either a ribbon or a LDC, just for color and flexibility.



Sorry I missed this post.

Just tonight I was thinking of ribbon mics. Little worried though about the special high gain preamps needed. I've never matched a ribbon with a pre before.

Jose


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## José Herring (Sep 4, 2012)

Nick $400 was just me being the cheap bastard that I am and hoping I can find something better than what I have in that range. But, I fully realize that that may not happen.


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## germancomponist (Sep 5, 2012)

josejherring @ Wed Sep 05 said:


> Gusfmm @ Tue Sep 04 said:
> 
> 
> > Jose- any reason why it has to be SDC? If what you have in mind is solo instruments such as your clarinet, have you thought about giving a ribbon a try? If you were to record in a worthwhile acoustic space, I'd definitely try a couple ribbons in blumlein. Cost may go a bit over your budget though.
> ...



You will love it! 

Here are some interesting informations: 
http://www.thomann.de/gb/onlineexpert_88_1.html


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## sinkd (Sep 5, 2012)

josejherring @ Tue Sep 04 said:


> Little worried though about the special high gain preamps needed. I've never matched a ribbon with a pre before.



What do you have for pres? You could look at the AEA ribbon pre. I bought my Apogee Ensemble in part because it had the gain to drive an SF-12.

DS


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## Gusfmm (Sep 5, 2012)

Jose, if you asked an AE about it, you'd be recommended all kind of fancy high-gain/ultra-low noise boutique pre's. I'm sure they sound fantastic, probably better than my meager set-up. But for whatever it's worth it, I get by just fine using my Mackie console; its Onyx pre's have plenty of gain to perfectly drive my few ribbons with a very good noise floor (–129.5 dBm EIN and 123dB total dynamics, per specs).

And I think for your application, you got to try a ribbon just because its different character, I'm sure you won't regret it. Again, a solo instrument, I'd do one or two ribbons, and another condenser (or the M201 for that matter) for color, so that you can blend them at your leisure after the fact.


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## wst3 (Sep 5, 2012)

Hi again Jose...

Since you added some detail so can I<G>...

I'd take a listen to the Earthworks and Audio Technica microphones. The former are probably going to be a stretch for your budget, but worth listening too anyway, just in case.

Ribbon microphones are wonderful, and very different from SDCs. I have three at the moment, and want to add more to the locker. I've found that I can get great results with almost any of my preamplifiers, none of which are designed for ribbon microphones. They do have a lower output than the 'typical' condenser or even other dynamic microphones, but unless you are recording an ant, in tennis shoes, walking on plush carpet I think you'll be ok.


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## Nick Batzdorf (Sep 5, 2012)

Yeah, you'll probably need 60dB of gain with most ribbon mics - depending on how close you're miking, and also depending on the ribbon (some of the Royers are active, i.e. they use phantom power and amplify the signal just like a condenser mic does).


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## Bernard Duc (Sep 6, 2012)

I have a pair of Josephson C42 and I am very pleased with them. They are very honest and detailed microphones. When I use them I know that they can't be a bad choice, which can happen with more colored microphones. New, they cost a little bit more than 400$ (435$ on mercenary audio). 

But, if you can, try a microphone with your preamp before to purchase it...


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## Beat Kaufmann (Sep 6, 2012)

I believe they are not mentioned until now
*Rode NT5* (also as matched pair available)
http://www.musik-produktion-createc.ch/recording/index.php (I have two pairs of it) - beside of Neumanns an others...
This is a mic for nearly every case... It's a hit for its price. 
And here is an interesting Film about producing mics at Rode
http://www.youtube.com/watch?v=7SJSph2b ... _embedded#!

Have fun
_Beat_


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## Bernard Duc (Sep 6, 2012)

> And here is an interesting Film about producing mics at Rode
> http://www.youtube.com/watch?v=7SJSph2b ... _embedded#!



There is also an interesting report on Josephson Engineering. The firm is not really as big as Rode...

http://www.wired.com/rawfile/2011/0...ent=Google+International&pid=697&viewall=true


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## José Herring (Sep 6, 2012)

Nice. i'll check them out.


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## KEnK (Sep 6, 2012)

I also have a matched pair of Rode NT5s.

I was hesitant to mention them because I thought I'd get trashed. :wink: 

I get great acoustic guitar sound as well as percussion from these babies.
I've also used them for piano and accordion.
Got decent results w/ vox as well.

I've used them for a live acoustic jam session and was happily surprised by how little bleed there was from mic to mic.

They're pretty good and cheap. Better than you think for the price.

k


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## Nick Batzdorf (Sep 6, 2012)

Trashed? No way. Cheap mics can sound really good on some things. The difference is that they're not manufactured to the same tolerance as expensive ones, so you may have to go through a bunch of them to get good ones.

I didn't watch that video of [edit: not Rode, I meant ROYER!] mics, but I've been to their shop in Bubank and seen how they tune capsules by hand. Sometimes it took ten minutes to get within their tolerance, sometimes four hours. They had a guy doing that full-time.

It's possible they've changed the process since then - this was a few years ago - but I doubt it! And the result of that much care speaks for itself. Their mics are brilliant.


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## wst3 (Sep 6, 2012)

Nick Batzdorf @ Thu Sep 06 said:


> Trashed? No way.



Nah, not here... never happen!



Nick Batzdorf @ Thu Sep 06 said:


> Cheap mics can sound really good on some things.



Amen to that. I have this goofy Teac (not Tascam) PE-120, which is the same microphone Nakamichi used to re-badge, never did find out who actually makes it, but I digress... I have this goofy Teac PE-120, it's a small capsule condenser with swappable capsules. Mostly it sounds like an inexpensive microphone, a bit noisy, definite 'character', etc, and it uses an almost impossible to find battery.

But it sounds awesome on one of my guitars. It sounds good on the rest, but on my 1977 D-18 (not a notorious year<G>) it makes it sound like a pre-war D-18. Just huge as life.

So I talked to Stephen Sank (Cloud Microphones, and son of an old friend) and he taught me how to convert it to phantom power. Now it still has the character, but it is quieter, and it handles a lot more signal, and it doesn't run out of juice.

So yeah, sometimes inexpensive (read cheap) microphones can be awesome.

On the other hand, I have an AKC C-1000 that I'd sell if I wouldn't feel guilty about doing so!



Nick Batzdorf @ Thu Sep 06 said:


> The difference is that they're not manufactured to the same tolerance as expensive ones, so you may have to go through a bunch of them to get good ones.



That is one possible difference. But there are also design differences to take into account.


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## rgames (Sep 6, 2012)

No mention of Blue? I use the Baby Bottle for most of my clarinet recording. It definitely has some character to it but it's still pretty flexible.

Cooler, tighter (Glinka La Separacion):
[flash width=450 height=110 loop=false]https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F53098291&show_comments=false&auto_play=false&color=ff7700[/flash]

Warmer, bigger (Debussy Reverie):
[flash width=450 height=110 loop=false]https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F26034157&show_comments=false&auto_play=false&color=ff7700[/flash]

Haven't listened to the Reverie in a while - I think the clarinet is too far back in the mix in spots...

rgames


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## Gusfmm (Sep 6, 2012)

Where can I buy that gorgeous Clarinet library??? :wink: 


p.s. I love Debussy, Reverie especifically brings back great old memories, wish you'd have customized the tempo map to make it rubato as opposed to MIDI'ato. :wink: :wink:


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## Nick Batzdorf (Sep 6, 2012)

By the way, I meant to say ROYER mics, not Rode!

Big difference. I'll edit my post above.


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## José Herring (Sep 6, 2012)

rgames @ Thu Sep 06 said:


> No mention of Blue? I use the Baby Bottle for most of my clarinet recording. It definitely has some character to it but it's still pretty flexible.
> 
> Cooler, tighter (Glinka La Separacion):
> [flash width=450 height=110 loop=false]https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F53098291&show_comments=false&auto_play=false&color=ff7700[/flash]
> ...



Not bad at all. 

Not sure about the mic though. Lacks a tiny bit of fidelity. But, it might be the preamp. Something seems just a tad pinched. What pre do you use?

Clarinet playing is good on the Glinka. Pretty expressive.

Debussy is tough, you really have to be able to take the entire phrase and each note has to be so consistent and matched that you get that impressionist haze effect. You need to sustain notes really well to pull off Debussy and Ravel. You almost get it and then your lip or air gives about half way through the sustains. An hour a day of long tones for weeks keeping the tone absolutely consistent and you'll start to hear it and build the muscles around the embouchure, intercostals and diaphragm. Also, keeping the abdomen completely tight.

Not that you wanted a lesson from me :mrgreen:


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## wst3 (Sep 6, 2012)

I have two Blue microphones, their Baby Bottle, which I like for vocals mostly, and the Dragonfly, which I use a lot in place of an SDC. I'd like to get a second one, they are really cool microphones, and I'd have to describe them as falling in between the 'typical' sounds we associate with 'typical' large and small diaphragm microphones.

The only other Blue microphones I've used are their capsules (large diaphragm) for the C-451. They are really cool.

I really need more money - this thread is killing me!


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## José Herring (Sep 6, 2012)

It's an interesting sound for sure. I do like the Bottle Mic. I just haven't heard anything like it. 

Your description is pretty accurate. Thank you.


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## rgames (Sep 6, 2012)

The thing I like about the Baby Bottle for close-mic on clarinet is that it adds a bit of warmth. If you're used to hearing recorded clarinet in an orchestral setting (mostly hall/stage mic) then you're surprised at how bright and direct the instrument can sound when close-mic'ed. The Baby Bottle has a frequency response that offsets that effect a bit. Of course, you can probably do something similar with EQ and a different mic.

I also have an AKG C something (never use it) and a Blue Blueberry - both sound too bright for my tastes on close-mic clarinet. I should probably sell them - I never use them... I use an Aphex 207 preamp but I've also used the ones in my RME Fireface 800 and I can't hear a difference. The differences between the mic's are audible but, from my experience recording clarinet, they're not huge. As I said, I think you can make one sound like the other with a bit of EQ. Transients might be very different, though, with a different instrument.

I've been told that ribbons do sound very good on WW, especially clarinet. But every time I've been mic'ed in a studio it's been a Neumann. I don't know which - my limited studio time outside my personal studio was before I cared about mic's, so I didn't pay attention.

And yeah, thanks for the lesson. I'll take the comments on advisement 

rgames


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## José Herring (Sep 6, 2012)

I've used Neumann u87 a lot. It's very good. Most studios have one.

Close mic clarinet with SDC mics does sound way bright. So I've been offsetting that brightness with a LDC very well. I like the LDC sound, but on my mic there's missing a little detail. I've also found that on the U87 as well.

Aphex 207. I'll check it out.

Oh, and I have a lot more lesson to give, but I won't. As always I find the faults first then I realize that I didn't mention the good points. You have a good command of the instrument. Good tone and a pretty good sense of musicianship as well. Some feel.

If you're interested someday I can throw some ideas your way that will bring the playing up to the next level. Which in about 4 to 6 weeks of dedicated 3 to 4 hours a day practice would put you in a new class of clarinetist. But, only if you're interested. Those who have done it improved immensely. But also at the same time a lot of people resent it. It's simple but brutal. You won't be doing it right until you taste a little blood.


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## synthetic (Sep 7, 2012)

I saved for months to get one great microphone, and I chose the Bock 241. Gorgeous sound through my BAE Audio 1073MP Neve preamp. The problem is that now I want a second one for stereo piano recording. And some omni SDCs for ambience. It never ends.


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## José Herring (Sep 7, 2012)

synthetic @ Fri Sep 07 said:


> I saved for months to get one great microphone, and I chose the Bock 241. Gorgeous sound through my BAE Audio 1073MP Neve preamp. The problem is that now I want a second one for stereo piano recording. And some omni SDCs for ambience. It never ends.



The Bock looks great. Teeny, weeny bit past my price range though.. >8o 

The BAE Neve pre, might be totally worth getting.


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## Per Lichtman (Sep 11, 2012)

Just wanted to weigh in and put my voice behind a few of the mics already mentioned.

First of all, my favorite small diaphragm mic (personally) is easily the Neumann KM184D. Definitely more than $400 price range but I recorded a Grammy winning soprano with one and she loved it more than a Rode Classic or a Neumann TLM103, etc., etc. because it sounded the most like the way she heard herself (a sentiment echoed by several other performers I worked with).

At the same time as it is a very clear sound, it is not brittle or hyped - it doesn't diverge from the overall Neumann aesthetic, it is just one implementation.

Now, if I want more of "high impact" slightly more hyped (but still musical) sound, I find the Rode small diaphragm mics sounded interesting. I have not had experience using them personally, just heard recordings done with them by my peers.

Whatever mic you get, make sure it is a mic that you really, really like. Don't get two of ones that are "okay" instead of one "great" one. I just throw Numerical Sound ReStereo on when I want a realistic (but subtle) stereo extension.

But the last point of course is the Royers. If you don't have the AEA TRP and you are going to go the ribbon route, I strongly suggest the R122V. Beautiful sound and strong enough signal to do well by the Avalon 737 I track it on.

On the other hand, you can get a very different, very clear and beautiful sound by using an AEA TRP preamp with for instance AEA's R92. Very different sound from the Royer 122V but equally beautiful. Plus, I am a big fan of AEA as a company and they have their offices a few minutes away from my house.

Anyway, the best piece of advice I can give on picking the mic is to try and find (or create) controlled comparisons before you buy rather than referencing off of disparate recordings or others' opinions. 3D Audio puts out some comparison CDs and you can find lots of others by searching the net.


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## paoling (Sep 29, 2012)

Try to look for Beyerdynamics MC-930. They should be something like 600$ at pair and they are greater than Oktava's in my opinion.

EDIT: err. they are more expensive.. I'm looking now. I got them but if you want only one you can be in the range of your desidered price.


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## screws (Sep 29, 2012)

I own a pair of the Oktava MK012s which are nice, but for a single great sounding SDC on my acoustic guitar I pull out my AT 4051. You can find used for around $350 each and they blow the Oktava away.


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## Nick Batzdorf (Sep 29, 2012)

Depends on the particular Oktavas!

But AT is certainly going to be more consistent. (I have a 4055 and like it a lot as an all-purpose mic, and also a little mini clip-on condenser that's really nice.)


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## Nick Batzdorf (Sep 29, 2012)

You know, it occurs to me that nobody asked early on whether you're after "flat" mics or character mics with an opinion.

Both are equally valid, of course, but that has a lot to do with your choice.


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## John Rodd (Oct 3, 2012)

A great all-round (fairly low priced) mic is the Shure KSM 32. Close to the $400 mark..... if you shop around enough.

my pal Ronan (who is a great engineer) thinks it is a great mic too.

anyone who is curious about this mic should watch THIS:

http://www.youtube.com/watch?v=4w6y8gNWEhY

8) 

seriously.

John


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## wst3 (Oct 3, 2012)

I have, and use a KSM-32, but it is a large capsule condenser microphone, and the OP asked about small capsule condenser microphones. Did you, by any chance, mis-type, and mean to refer to the KSM-137 or KSM-141?

I ask because the KSM family are great, all-around microphones that I think are priced very fairly. And, depending on the application I can certainly see the KSM-32 taking the place of many small capsule microphones.

Just trying to avoid confusion...

(FWIW, I first heard the KSM-32 at NAMM in 2000 (I think<G>). The thing that impressed me was that it was just sitting at the edge of their booth, on a stand, connected to a decent headphone amplifier. When I put on the headphones I was immediately confused, it was almost as if they weren't there. It is a very neutral microphone, but in a good way... which many here will find an amusing evaluation, but I'm sticking with it anyway!


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## John Rodd (Oct 3, 2012)

wst3 @ Wed Oct 03 said:


> I have, and use a KSM-32, but it is a large capsule condenser microphone, and the OP asked about small capsule condenser microphones. Did you, by any chance, mis-type, and mean to refer to the KSM-137 or KSM-141?
> 
> I ask because the KSM family are great, all-around microphones that I think are priced very fairly. And, depending on the application I can certainly see the KSM-32 taking the place of many small capsule microphones.
> 
> ...



I did mean the KSM 32.

I offered it as a general suggestion.

regardless

I have heard many call it a "medium capsule" mic. 

I just call it a great mic for the $.

I would pick it over many other mics that have been suggested here on this thread.

I have seen it handily beat mics that cost 4x as much, in blind, level matched tests that I have been a part of.

:D


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## wst3 (Oct 3, 2012)

John Rodd @ Wed Oct 03 said:


> I did mean the KSM 32.
> 
> I offered it as a general suggestion.
> 
> ...



No arguments about any of that... I love my KSM-32, and plan to add the multi-pattern version one of these days to extend it's capabilities.

In the right setting it can absolutely be the best microphone for the job. I like it on some female and tenor vocalists, I like it on most acoustic guitars, did not like it on my mandolin - it was a bit too honest, and don't like it on most amplifiers, but that's cause I think I am so accustomed to an SM-57 or RE-20 in that setting. I have used it with great results on guitar cabinets, but pulled back 3-4 feet, which is a different application. I also think it is a bit too neutral for most hand percussion, but I LOVE it on shakers, especially those cheesy plastic shakers, not sure why, but it just works.

As far as large vs small vs somewhere-in-the-middle, well, it depends on your frame of reference. Small capsules were originally intended to be super accurate for really fast transients, or high frequency material in general. A larger capsule suffers somewhat from it's own mass, and of course the fact that it can approach 1/4 wavelength of some material.

Several manufacturers experimented with capsules that fell between the typical large capsule (1" is not uncommon) and small capsule (1/2" or smaller), but when you stop to think about all the variables, even if we limit the discussion to condenser type microphones...

polar pattern is important

pickup type - velocity vs pressure - is really important

construction is critical, as is choice of materials

charge type (e.g. self charged, RF, or externally charged) plays a role, but is probably 
pretty subtle compared to the rest

sensitivity is a function of all of the above, but also an important characteristic

And all of these characteristics are affected by diaphragm size to one degree or another.

So it is, I guess, important to consider diaphragm or capsule size, but it is only one consideration.

I sometimes worry that folks worry too much about one specific factor, like capsule size.

Returning to the real world, the KSM-32 certainly does not sound like the typical small capsule design, if by that you are thinking of the KM-8x or C-451 families, but then each of them imparts a reasonably identifiable signature, as do my MKH-405s.

But it does sound great on a LOT of different sources, and more often than not the track can be fit into a mix through simple placement, instead of fixing it afterwards with EQ. That's a big plus!


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## Audio Genetics Lab (Oct 5, 2012)

Just to throw another lower-cost option into the mix, I've always been pretty happy with my stereo set of Rode NT3s. They have often surprised me in terms of quality for a sub-$300 mic, and I don't have to worry about taking them out in the field. 

Also, I'll just be another to say that you really can't go wrong with Earthworks.


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## synthetic (Oct 5, 2012)

That KSM32 video was great, I'm sold. Buying a pair after I save up for a second Bock.


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