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Ooops... I meant R8 capsules with the Red Type B... not R7. But I don't know if I'd call it "dark" either... it has nice presence.

BradLyons wrote:If you're talking a dark vocal sound....well you're certainly more than half way there with the 6176. The Mouse isn't going to be one to look at then, hmmm. Well the MA200 is based around a U67 characteristic, but certainly a more open top-end. I'd not characterize it as "bright", but certainly it has more air to it. Hmmmm darker sounds..... I'm actually at a loss for recommendations.

Perhaps "dark" is a poor adjective. My apologies. What I mean to say is, I'm seeking a vocal mic that'll add a bit of low-mid girth to my otherwise thin-sounding voice.

From the online research I've done, it actually looks like the Mouse may be a good candidate. A lot of engineers like it on kicks and male voices because of what it does to those lower mids.

My Sweetwater dude, Brian Loney, suggests the Bock 195 (with its fat switch and all). It certainly gets favorable marks from a lot of folks. It's still a front-runner.

RE: The 6176 "darkness." Yeah, that's there for sure, and it helps a lot. I love it on bass guitars -- makes them chocolatey. But, I want even more of that from the source.

I'm even wondering if I should be looking at ribbon mics?

RE: MA200. I didn't mean "bright" in a bad way. A friend of mine has it, and I think it sounds good, but just not the vibe I'm seeking. It definitely has that noticeable bump in the upper kHz, know what I mean?

Anyway, thanks for your input. Thanks to everyone. Keep it coming. I'm definitely absorbing it.

Well in that case, I'm glad to know I was on the right path after all! Yes, I think the Mouse would do the trick. It's a unique mic and not for all voices, but now after what you said--I think it might do the trick. It's a REALLY good mix with that pre.

If you are thinking about a Ribbon you should check out the Cascade Mic website. I'd love a $1295 Royer, but it isn't in the budget right now. So, I opted for a Cascade Fat Head II. Wow. A sweet mic. I bought the pair with the stereo bar and shockmounts. Total price - $399 - and lots of applications.

I can't help but think that the voice you are trying to work with might sound better with an EV RE 20 or a Shure SM7B. There really isn't anything magic about a condenser mic. The right choice is what sounds best. I might suggest that you could have two Cascade ribbons, the SM7B AND the RE 20 for about what you'd spend on one quality condenser that might not do what you are looking for it to do.

Can't wait to hear where you land and how you feel about your choice. Gear aquisition is so addictive!

janglyrecords wrote:I have a MicroTech Geffell UMT70. It has the original M7 capsule found in such mics as the Neumann U47. They are the East German (remember them?) Georg Neumann company. They make the M7 capsule like in the olden days. I got mine on eBay for $975. New they can be had for about $1400. An amazing mic. It is FET, not tube, but when put through a tube mic pre it is everyone's favorite audio cliche - warm. One can get away with very little EQ on the mic. It has a bass rolloff and a 10db pad.

I've used one extensively and it is the bee's knees. I wish I owned it.

chrispick, if you have a baritone like voice, and have never tried a sm7 on it, i would suggest borrowing one and seeing how it suits your voice. especially through a pre like the pacifica or the 6176 for different shades of "growl". makes for a pretty good guitar cab mic as well.

oh and for broadcasting of voice over's, it gets ton of use there. one of the true bargains in the mic world if you ask me, after a 57.

OldTimey wrote:chrispick, if you have a baritone like voice, and have never tried a sm7 on it, i would suggest borrowing one and seeing how it suits your voice. especially through a pre like the pacifica or the 6176 for different shades of "growl". makes for a pretty good guitar cab mic as well.

oh and for broadcasting of voice over's, it gets ton of use there. one of the true bargains in the mic world if you ask me, after a 57.

I've used one extensively and it is the bee's knees. I wish I owned it.

gearboy wrote:

OldTimey wrote:chrispick, if you have a baritone like voice, and have never tried a sm7 on it, i would suggest borrowing one and seeing how it suits your voice. especially through a pre like the pacifica or the 6176 for different shades of "growl". makes for a pretty good guitar cab mic as well.

oh and for broadcasting of voice over's, it gets ton of use there. one of the true bargains in the mic world if you ask me, after a 57.

I've used one extensively and it is the bee's knees. I wish I owned it.

save up and buy one jeff! on ebay you can get a used one for 200 bucks. great value on a mic that will last a lifetime.

OldTimey wrote: save up and buy one jeff! on ebay you can get a used one for 200 bucks. great value on a mic that will last a lifetime.

Believe me, it is on the list. I adore the SM7. Used one for over a year 5 days a week recording voice talent back in 2000-2001. Great mic.

Right now the only gear that I am allowed to purchase is the NI Komplete upgrade before August 31st, as it is only 1/2 price. Then I have to buy a house. then I will never be able to purchase any gear again!

janglyrecords wrote:If you are thinking about a Ribbon you should check out the Cascade Mic website. I'd love a $1295 Royer, but it isn't in the budget right now. So, I opted for a Cascade Fat Head II. Wow. A sweet mic. I bought the pair with the stereo bar and shockmounts. Total price - $399 - and lots of applications.

I've been taking a serious look at the Fat Head but I've never heard it (except for the on-line samples). It looks interesting and the price is right. Could you elaborate and perhaps give us a little review?

Thanks,
Phil

I've been taking a serious look at the Fat Head but I've never heard it (except for the on-line samples). It looks interesting and the price is right. Could you elaborate and perhaps give us a little review?

The Cascade Fat Head II is really very comparable to many of the high-end ribbons - from what I have heard. I have the Royer demo CD and it has a shoot out with other ribbons on it. My goal was to get a smooth top end on crunchy guitars, a different flavor for jazz drums, and something different for an acoustic so that when I layer guitar tracks more sound would come from the mic than some EQ tweaking.

I am more of a serious project guy with a small indie label than a professional engineer with years of experience so perhaps my goals were innocent to begin with. However, I believe I get the desired result with the Fat Head II. Pre-amp selection makes a big difference in ultimate tone. My favorite pres to boost the FH II in order would be the Manley Dual Mono (awesome on stereo drums), my Ward Beck M480's (I have an 8 ch. console of these beauties with +40db of headroom) and my Safe Sound P-1 (if you have never heard this gem check out FrontEndAudio.com).

Overall, I just find that it is a different color in the crayon box. I am hoping to one day record some live horns and strings and I believe I'll have some good choices in my cabinet.

I just bought the Rode K2 and even though i live in good ole aussie land i'm not the biggest fan of rode mics but i must say i am well pleased with this mic sounds damm good on most things and although it is pretty colored it's damm sweet in the top end (unlike most other rode mics i've owned or tried) and i now prefer it to the 103.

I've had a Blue Mouse (I sold it) and I found it to be very sibilant and metallic to my taste -

Also the Red Type B looks so dorky, I couldn't imagine putting that in front of a client (or myself) - and yes the way something looks is important! Also, I'd be a little leery of the 5k boost in the frequency chart...

now - a matched pair of Neumann KM 184s (acoustic guitar) and a Neumann TLM 103 look like I want to bite into them...

RCory wrote:I've had a Blue Mouse (I sold it) and I found it to be very sibilant and metallic to my taste -

Also the Red Type B looks so dorky, I couldn't imagine putting that in front of a client (or myself) - and yes the way something looks is important! Also, I'd be a little leery of the 5k boost in the frequency chart...

now - a matched pair of Neumann KM 184s (acoustic guitar) and a Neumann TLM 103 look like I want to bite into them...

Looks of a product doesn't make it sound better or worse. If a client is concerned about the look of the microphone, then they must be more concerned about their own looks and not the quality of their music. As to the mics....there are other options available for less money I'd recommend to look at.

BradLyons wrote:
Looks of a product doesn't make it sound better or worse. As to the mics....there are other options available for less money I'd recommend to look at.

uh - looks are important to me and I'm not ashamed to say it! Ain't nothin' more sexy than a great sounding AND beautiful mic!

I'd like to hear your recommendations then. - but I'm not getting a red pole.

and yes Sweetwater is my rep.