What mic would you get?

[sdauditorium]

What about cable testers/other helpful tools? DI's? Adapters?

I planning on picking up a couple Countryman Type 85s next year. Tool/tester/adapter-wise I think we're good at this point.

 

[TimmyP1955]

The E901 is indeed a nice kick mic - one that does not need a companion mic to get the job done.

Type 85s are good, though I prefer the Radials by a bit.

535s can sound very nice, but they seem to have a BIG proximity effect, and pick up too much stage wash (as do most of the "a cut above" vocal mics).

Heil PR 40s can be bought used for under $250 shipped, and are very good for just about anything on which such a large mic is not too obtrusive.

 

[bishopthomas]

Anyone try the Telefunken M80 yet? I used it a few months ago in a theatre (acoustic rock type show) and had no problem getting it SCREAMINGLY loud in the VRX monitors. I'm sure a lot of it had to do with the space, but I've never had such an easy time getting vocals so loud and clear in the monitors. I was the monitor engineer for this, so my first priority was getting vocals LOUD and clear - it just happened to sound great too. Much better all around than the lead singer's KMS105. I ended up with quite a few more notches in the graphic for that mix.

 

[mixmaster]

Looks like you are set for vocals and general purpose small diaphragm condensers. I'd look for a couple Large diaphragm condensers, or drum mics. For drum mics I have both the D6 and the Beta 52 in my inventory, and while they are both great mics for their purposes, the have different sounds. I prefer the B52 for Jazz, or some other acoustic sounding groups. For our blues, rock, and similar shows, I like the better attack and definition of the D6. If I had to chose one or the other though, I would definitely keep the D6. I would also look to Audix for D-series packages. They have packages or drum mics that have various combination for quite reasonable prices. You may be able to snag a D6 plus a couple D2's in a kit for about your budget.
For LDCs I have been looking at the e904s lately. I used to use the origanal Sennhieser 409s on horns, guitar cabs, ocasionally vocals, and miss that sound. Supposedly they brough back the same sound in the e904s.
The other thing that I can never get enough of is short tripod boom stands. I got a couple little guys for drums, seated saxes, large string instruments. Very handy...

 

[FMEng]

535s can sound very nice, but they seem to have a BIG proximity effect, and pick up too much stage wash (as no most of the "a cut above" vocal mics).

Yes, the C535 has substantial proximity effect, which is why they have TWO high-pass filter switch settings.

Actually, ALL cardiod mics have proximity effect. However, most vocal mics have an inherent bass roll-off in their frequency response to counter the proximity effect. The mics with fixed roll-off will sound thin when the source isn't close. Looking at frequency response graphs can be most instructive, and it helps in knowing why mics sound the way they do.

In the case of the C535, the mic has a fairly flat bass response, and then the switch allows you to tailor the response to the use. The switch will you a sound more typical of other vocal mics, when you need it. This allows a lot of flexibility that most vocal mics don't have, but you do have to know how and when to use it. This mic sometimes gets a bad rap because people ignore the switch setting.

 

[avkid]

Anyone try the Telefunken M80 yet? I used it a few months ago in a theatre (acoustic rock type show) and had no problem getting it SCREAMINGLY loud in the VRX monitors.

Yes, it does get extremely loud, but it also has the "icepick" quality to it.

 

[TimmyP1955]

Yes, the C535 has substantial proximity effect, which is why they have TWO high-pass filter switch settings.

Actually, ALL cardiod mics have proximity effect. However, most vocal mics have an inherent bass roll-off in their frequency response to counter the proximity effect. The mics with fixed roll-off will sound thin when the source isn't close. Looking at frequency response graphs can be most instructive, and it helps in knowing why mics sound the way they do.

In the case of the C535, the mic has a fairly flat bass response, and then the switch allows you to tailor the response to the use. The switch will you a sound more typical of other vocal mics, when you need it. This allows a lot of flexibility that most vocal mics don't have, but you do have to know how and when to use it. This mic sometimes gets a bad rap because people ignore the switch setting.

The switch does not kill the proximity effect, it just compensates for it. Yes, the mic sounds good up close with the bottom rolled off. But when the singer backs off, it gets VERY thin.

 

[Morpheus]

Anyone try the Telefunken M80 yet?

One of the venues at my school has had an M-80 for a few years now, we use it on the main singer of the worship band.

 

[howlingwolf487]

I put in a recommendation for a couple Audio-Technica AE5400s. They're my next mic purchase (unless I get a measurement mic).

Here's my personal list:

Audix i5
Heil PR22
Heil PR35
Audio-Technica 3035
Shure Beta91
Crown CM700 (matched pair)

On the "to buy" list:
Audio-Technica AE5400
Sennheiser e906
Beyerdynamic drum mics (kind of broad, I know)

 

[bishopthomas]

You will not regret the AE5400, it's a great mic. I see you are in Cherry Hill. Do you work at a venue in the area (or Philly)? The 906 is a good choice, and the Beyer M69 is good for bass drum and the M160's make great overheads.

 

[BigBC68]

I would definitely go with the Beta 52, and maybe one Beta 57. Although the 52 is supposed to be a dedicated kick mic, it also makes a great tuba mic if you need one.