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July 2008 \ Gearhead Garage \ Product Spotlight \ 18 Mics You Should Meet

18 Mics You Should Meet by Gayla Drake Paul

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A perfectly recorded acoustic guitar is a wonderful sound; lush, rich, detailed, shimmering, balanced, alive and soulful. Finding a microphone up to the task of capturing each of these nuances is at the very least daunting and at the worst nightmarish. And while it’s a frequent cliché to say that a system is only as strong as its weakest link, in the recording world, it’s perfectly true. A mic is the first link in your signal chain and it’s critical. There are more options on the market now than ever before – and at more price points – eliminating any excuse to not start your signal with a fantastic mic. What follows is an introduction to 18 mics to consider for your acoustic setup. With price points between $100 and $1500, these mics should fit any budget.

The Method: We chose a Gallagher GA-70 Custom acoustic guitar for testing, and played the same little section of music with a fl atpick in order to give each mic a fair shake. We recorded the mics in a 4’ x 8’ room with acoustically deadened walls, fl oor and ceiling. For the mic pre, we used an Aphex 230 with no effects – set completely fl at – and adjusted only the volume as needed to set the peaks at -6dB. We recorded one channel only, from one position – directly in front of the treble side of the upper bout of the guitar, which is one of the sweetest spots for many acoustics.

Ribbons
Ribbon mics derive their name from their diaphragm, which is made of a thin ribbon of aluminum, duraluminum or nanofi lm mounted between two magnets. They can add warmth to a recording, but until recently great sounding models cost a pretty penny. Typically bi-directional, one side may sound slightly different than the other (asymmetrical) or exactly the same (symmetrical). Lower-end ribbon mics tend to lack brightness and sizzle – some are just plain muddy – but newer, affordable ribbons offer life and luster previously only available to high-end studios. Note that ribbons are delicate and require special care, so if you’re not inclined to baby your gear, you may want to skip ahead to the condensers.

Apex 205 list $179 This is a very warm sounding mic, but it lacks some definition – it would be great combined with a small diaphragm mic to capture details. There’s a lot of boom in the low-end, making it the perfect enhancement for a guitar with less bass. If you’ve got enough bass already, minimal tweaking to the low-mids will help dial out the boom and keep the richness. Track 1 Flash is Required to hear this track	Cascade Fat Head (Lollipop-style) list $159 With a hand-tuned ribbon element and a true figure 8 pattern, this mic sounds similar to the Apex 205, but with a little less boominess and a little more brightness. We’ve had success using this mic to capture kick drums, so it can definitely handle aggressive playing while smoothing out some of the uncomfortable peaks and pops. If you’ve got a few extra bucks, consider upgrading to the Lundahl transformer ($300). Track 1 Flash is Required to hear this track	sE Electronics RT1 Ribbon Tube list $1499 Launched in early 2006 as a prototype, the RT1 is the world’s first ribbon mic with a tube (an ECC83A to be exact). This mic combines the best characteristics of a ribbon mic with the punch and definition of a tube condenser. The front side has an atmospheric and airy sound, while retaining great clarity; the back side is less hot, giving the low-end a darker sound. Track 1 Flash is Required to hear this track Track 2 Flash is Required to hear this track	Crowley and Tripp Naked Eye list $849 Featuring True Dual Voicing, the Naked Eye has two distinct personalities. The front side is lively and crisp, yet smooth; you can hear each string perfectly, almost like you’re sitting inside the soundhole. The back side is hotter and adds a lot more shimmer to the highs; if anything, the back is like the front turned up to 11. As a bonus, what you gain in the highs is not lost in the lows. For an extra $446, upgrade to the Roswellite ribbon to handle higher SPLs. Track 1 Flash is Required to hear this track Track 2 Flash is Required to hear this track

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Condensers
Condenser mics are the primary choice for recording acoustic guitars. The signal is hotter, and they sound big and bright. Of course, each condenser has its own personality; some can be harsh and unforgiving, while others sound rich and shimmery. While almost every mic colors the sound somewhat – skewing it warm or bright – some will accentuate certain frequencies that work for the acoustic while others will not. If you find yourself on a budget and can only buy one mic, condensers are just the ticket.

Audix VX-5 list $299 A hand-held condenser originally designed for vocals, the VX-5 does a surprisingly good job at instrument mic’ing if you need something that can work double duty. This mic has a great punch, lots of warmth and low noise, making it a strong choice for solo guitarists. The mids are clear and there’s plenty of definition between strings. You can hear the flatpick moving but it’s never harsh. This mic would be a great choice for recording an overly bright guitar or for smoothing out a big dynamic range. Track 1 Flash is Required to hear this track	MXL 604 list $179.95 The MXL 604 has a lot of warmth and solid-sounding mids. It is very well balanced mic, with nothing nasal or harsh anywhere in the spectrum. It lacks some depth in the lows and sparkle in the highs, but if you need to capture more midrange, check this one out. It also features -10dB switchable attenuation, low-frequency roll-off and an interchangeable omni-directional capsule. Track 1 Flash is Required to hear this track	CAD GXL1200 list $99 An inexpensive, low noise cardioid condenser mic, the GXL1200 proved to be remarkably versatile in the studio. The sound is pleasing, if slightly nasal. It captured plenty of pick noise, but coupled with a good de-esser this should be no problem. Everything we recorded came out sounding great, making the GXL1200 a terrific, all-around workhorse. Track 1 Flash is Required to hear this track	AKG Perception 150 list $279.95 Sonically, the Perception 150 is similar to the MXL 604, with slightly more presence in the high-end and a little more boom on the bottom. There’s nothing nasal, and you can hear every string clearly across the spectrum. This mic also features a -10dB pad. Track 1 Flash is Required to hear this track
AKG C 1000 S list $350 The C 1000 has been a studio standard forever, renowned for their fantastically warm sound. Clean, crisp and lively throughout the entire sound spectrum, this mic can work in the studio and onstage as a great ensemble mic. A PB 1000 Presence Boost adapter is also available, which provides an additional 5dB high-frequency peak, adding brilliance in the 5 to 9kHz range. As an added bonus, it can operate either on phantom power or a standard 9V battery. Track 1 Flash is Required to hear this track	Shure SM81 list $591.60 The SM81 is an old friend and studio standby. It offers plenty of detail but the mids sounded slightly thick with our guitar and the bass rolled off a little too soon. Depending on the sound you’re after and the guitar you’re using, it may or may not work for you – guitars needing some midrange love will benefit from this mic. It has a 3-position low-cut filter, and it’s worth noting that this thing is built like a tank (as is most Shure stuff). Track 1 Flash is Required to hear this track	Sterling ST33 list $199 Designed by Groove Tubes for Guitar Center, the Sterling incorporates a thin, 6-micron evaporated gold Mylar diaphragm and Class A FET electronics. What does that mean for you? The ST33 is hotter, the mids are warmer and there’s more detail. The added clarity delivers a brighter spectrum than either the MXL or the AKG. Toss in a -15dB pad and a low-cut fi lter, and you’ve got a great value. Track 1 Flash is Required to hear this track	sE Electronics sE4 list $399, stereo pairs $749 Replacing the sE3, the sE4 includes interchangable hypercardioid and omni-directional capsules. It’s not an easy concept to describe, but listening to recordings of the sE4 reveals some “extra space” above and below the sound, as if the room suddenly increased in size. It’s a very balanced sound, and you can hear every detail without harshness or brittle pick noises. It features both a low-cut fi lter and a -10dB pad. Track 1 Flash is Required to hear this track
RØDE M3 list $199 The M3 seems tailor-made for acoustics with warm midrange and plenty of bass response. This mic would be ideal for mixes where the guitar needs to shine through and would be a true companion for ensemble work. It has a lot of features for the price, including a battery power option, three pad settings (0, -10dB, -20dB) and a switchable high-pass filter. Track 1 Flash is Required to hear this track	Audio-Technica ATM450 Side Address list $369 The ATM450 is a side address condenser, making it handy to have around when you need different placement options – luckily, this one captures acoustic guitars beautifully. It’s incredibly rich and big sounding, and with low noise, you can hear every detail. This is a reasonably priced mic that performs like a far more expensive model. It includes an 80Hz high-pass filter and a -10dB pad. Track 1 Flash is Required to hear this track

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Unique Designs
The following mics are unique in size, application or design, and showcase the level of innovation currently taking place in the microphone industry. Skeptics among us wrote some of these off as gimmicky, but we were all surprised by how well they performed.

Audix i-5 list $179 Actually a dynamic mic designed to compete with offerings like the Shure SM57, this mic did surprisingly well at capturing acoustic sounds. The highs are clear and the midrange is very well defined. The i-5 actually competes with some of the lower-end condensers, in terms of sound quality, and if you’re looking for versatile instrument mic for the studio, this could be a value-packed buy. Track 1 Flash is Required to hear this track	sE Electronics GM10 list $599 The GM10 is unique in that it actually clamps to your guitar with an arm and shock mount. It takes a little time to get used to at first, but the design ensures that the mic never leaves your guitar’s sweet spot. It sounds phenomenal – similar to the sE4 in terms of space and openness, and with detailed, smooth mids. The balance between the lows and highs is dead on, and the only knock is that there may be too much pick noise for some. The universal clamping system will work with any flat-backed acoustic. Track 1 Flash is Required to hear this track	Audix M1280 list $439-$479 (depending on pattern) This miniature condenser measures only 3.5” in length but feels incredibly solid. It’s so small that we were shocked at the full, boomy bass response and the mic’s balanced sound. The mids are crisp and punchy, yet not overpowering. Every detail is present and accounted for. If you plan on doing any television work, this mic offers a discrete appearance along with stunning sound. The mic is available in a variety of polar patterns and features an integrated preamp. Track 1 Flash is Required to hear this track	Violet Design The Finger ($359) and The Ring ($50) The Finger’s vintage look is seriously cool, but even cooler is The Ring, which is a clear, circular disc that slides up and down The Finger, dramatically changing the sound in the process. Without The Ring, The Finger produces boomless bass and pure midrange with plenty of shimmer in the highs. Placing The Ring close to the tip of The Finger produced more boom (but not mush) and made the guitar sound about three times larger. The mids stay sharp and clear but never get quacky or brash at any setting. If you’re looking for a studio-worthy mic with an adventurous side, check out these boutique models. Track 1 Flash is Required to hear this track Track 2 Flash is Required to hear this track Track 3 Flash is Required to hear this track

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More Information Want to learn more about these mics? Check out the following websites for more information. AKG akg.com Apex Electronics apexelectronics.com Audio-Technica audio-technica.com Audix audixusa.com CAD Professional Microphones cadmics.com Cascade Microphones cascademicrophones.com Crowley and Tripp soundwaveresearch.com MXL Audio mxlmics.com RØDE Microphones rodemic.com sE Electronics seelectronics.com Shure shure.com Sterling Audio sterlingaudio.net Violet Design Microphones violetusa.com

     

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