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Everybody has their favorites, and nobody seems to use anything on snare besides a Shure SM57, but if you had to choose one microphone to use on just about anything and everything, what would it be?

My choice would be the AT4030. I haven't found another mic (yet) that I can throw on just about anything and be just fine with. The 4030 has been around for a while and I admit I don't get out as much as I used to so let me know your experiences...

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I guess I just have a pair of really unusual 67's. They sound consistently great on so many things where as my C12, C24 & U47's sound great but on a smaller %. I have 3 U47's and they all sound different. One of them is my all time favorite mic but it's not right for everything. I love my km 54's & 582's on acoustic instruments too
but if I had to choose only ONE mic.... it would have to be my U67's. They have won too many blind shootouts.
I agree, the 414's are a great all-around mic. They lack a bit on a lead vocal, but it depends on the vocalist. My fav large diaphragm on anything is my Sony C-800 (not the G). It is a monster vocal mic, acoustic guitar, room mic, front kick mic, etc. I like it much better than the G as it has a higher max SPL ( 19 more dB headroom) and it goes up to 20k rather that 18k (because everyone can hear that!). It's not as sensitive but the dynamic range is greater and has a better tolerance for wind noise (P's). The problem is finding an 800 rather that an 800G. I want another one so as to have two, but they just aren't available from ANYBODY.
For me it would be the Sanken CU44x. I use it on drum overheads, sometimes on kick, acoustic guitar, guitar amps, piano, choirs, horns, strings and lead vocals. It is the only mic I have ever loved on banjo. Take a listen to Ty England's vocal on my page if it interests you. I have a hard time working without that mic.
Live or studio ? Anyway, from my start in clubs years ago until now, I have used a Shure 58 on just about everything. Turn the knob til it sounds good.
I have been on a ribbon binge as of late and am loving my 122v by Royer... smooth and lovely. Seems to do well on everything i am willing to put it on... Sure because it is a ribbon it can't go on everything, but it does an amazing job on everything i have put it on
Sanken CU-41. It works great on just about anything. Guitars, Vocals, Drums, Piano, Banjo, Accordian, Bagpipes, Strings, Jet engines, Concussion mortars, etc...
U67 - there is no substitute.

altho those sankens are really nice


no no, 67's.
Has anyone ever tried the CASCADE Fat Head? It's a very nice value for the buck!
Ah - this thread has been revived...

All rightee - let me offer another approach:

The best all around microphone is the one that's already on a stand and plugged in. It's the best because you can record NOW, not in 5 minutes or 10 minutes, but as the mood strikes. The second best microphone is one that's in your own mic locker (or the locker where you're working that day), and by far the worst all-around mic is the one that you have to wait for it to be delivered either from the rental house or a dealer.

Overall great choice on a budget..... check out the Mojave MA II made by David Royer (?) or for a bit more budget.... the Lawson.

The Mojave runs about $900 and has the Jenson transformers and the 3 micron capsule which was the standard mod performed by Stephen Paul Audio back when Stephen was doing the 67 mods and Tony Merrill was a bench tech. With the Lawson, you don't get the pattern adjustment that most tubes have, but if you have a decent preamp- these mics hold their own and articulate very well in a track. They are fantastic on AGT, room mics, overheads, piano, vocals ect- wouldn't replace a D112 but they will work for most applications where you don't have $$ to build a mic cab.

The Lawson is the next echelon and they don't get much better especially since Gene will make adjustments for you if you are looking for a special acoustic footprint. We mapped my C12 which is an early 50's vintage and the Lawson definitely holds its own- you do need a good pre- the 1081 is spectacular in the chain and there is a bit of gain boost but thats a good thing right!!

Now while they might be pricey for some at around $3200... you get 2 heads (47 and the c12/251) you also get both the fet and the tube body, compare to the Korby at about $6K for the base and 2 heads and its cheap no fet body and thats essentially 4 mic options- great value.

Using a 1081 pre with a 2254 limiter- we ran the Lawson and the Mojave against an AKG 414 with the c12 cap, my C12 serial #457, Korby 67 and the Peluso 2251. The Lawson held its own with the C12- accounting for the gain differences in some of the older mics- the Peluso, Korby and Mojave were all a close second with the 414 a distant third. Oh.... one last grooviness from Lawson is the sweepable pattern select- that is really cool and if you are a gear head and like getting inside this stuff- Gene is a lot of fun to talk too- just make sure you aren't in a hurry!!!

I like the new Heil PR 22 for vocals and the Heil PR 30's for Guitars,


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