I removed protectilon steel cage, insede of microphone, so for me it became really good sound now, that cage easy to remove, but is made a lot of high "steell sound" resonances, and now is perfect.
I thought about getting one of these for vocals at some point in the future, but (as I use a scissor mount in an untreated room) I decided to save for an SM7B. Always good to see you, Stick.
Hi mate, SM7B is a great mic but very different to this, make sure you have the mic gain on tap to drive it if required, I always use a Cloudlifter with mine on vocals. Paul / Stick
Thanks for the reply. I have since found an EV RE20 clone which is about 4.5dB more sensitive than the original, Advanced Audio Microphones DM20, and gain is no worry there: it is about 4dB more sensitive than my current Audix OM-3. My priority is replacing my Focusrite Saffire Pro 24 with an Allen & Heath Qu-16. I hope some of this interested you. 8?}
never seen anyone play one of those cheap ibanez acoustics that way....sounds very nice over this mic. wondering if that guitar is stock or has been treated by a luthier? I have one of the older zebrawood EW's and it never sounded that good until i paid a guy to shave the bracings to reduce the top's mass. sounds so much better after....like double the cost type of better.
Is a mic like this good for recording brass instruments (trombone/trumpet)? If so, is there a cheaper mic that's similar to this one? I'm willing to spend up to 50 usd (40 euros).
I love when I'm looking for a mic demo, but instead I get some dude showing off on a guitar in a way that 98% of guitar players will never use the mic.
I disagree about using those reflections filters (from sE, Aston, et al) with ribbon mics. It will help reduce room noise, yes - but at the cost of excess lower midrange frequencies, as they are bouncing back into the mic. Distance from the back of the mic to reflective surfaces is key. One can also use the figure-8 pattern to ones advantage, by turning the mic 90 degrees away from problematic reflections. This will almost null them out. In any case, it's better to get at least 50-60 cm to the backwall, and treat it appropriately (i.e. thick enough layer to not just dampen the highs, but also the mid frequencies) with roxul or similar material. Again: the distance is key, due to the inverse square law.
That mic'd amp sounded great! Would this work well for a small home recording setup? I'm thinking of recording only acoustic and electric guitar and I need a decent mic that can do both applications well.
Jonas das Virgens this is a ribbon mic, a subcategory of dynamic microphones. Phantom power will damage it, as the ribbon is EXTREMELY delicate, so be incredibly careful with it. You'll need a pop filter if you're recording vocals so that you don't damage it with blasts of air and spit.
