I'm retiring in a few years. Lucky me!

I've always been part of my local music scene, and still play in bands. I have a studio space I use for my own projects, but eventually it would be nice to donate my time and space to helping younger folk who don't have my experience and other advantages.

I've been very slowly collecting mics over the decades, but haven't had any real need to expand beyond my immediate needs. While I'm still earning, I'd like to build a mic locker that will let me help folks going forward.

I'll probably focus on genres I resonate with, rock and metal.

I'll list out what I've collected over my life, and perhaps folks here can suggest some additions I'll not regret?

Kia kaha (stand strong)

--

Beyer M201
Beyer M320 ribbon
AKG D770
Audix 300xb x2
Shure SM57 x3
Shure SM58
Beyer TG-D70
Beyer TG-I51
Heil PR-40
Rode M5 pair
Sennheiser e609
Austrian Audio OC16

Budget? Realistically, I'm in no hurry. I can save. A U87 isn't out of the picture, but it might be wasted on my skinflint clients and the rest of my signal chain, detailed below.

I'll look forward to your suggestions on what I might be missing! :-)

D.

Soundcraft 1600 desk
MOTU 2408 converters
Loads of fun analog outboard
Fostex E16 tape

U87ai is the best mic but get a Sony c-80 if you want the second best cheaper option

The standard Gearspace response to this kind of thread is to immediately start lecturing the OP on the importance of room treatment and/or how you shouldn't be spending any money on mics until... etc etc blah blah blah.

While it's certainly true that a good-sounding room is a ticket to making better-sounding recordings, such replies are faintly patronising in that they assume the OP either isn't aware of this or isn't capable of addressing the acoustic aspects of your project simultaneously.

So, leaving aside all those cliched caveats which I'm sure someone like you with decades of experience has no need of hearing for the umpteenth time, and just sticking to the microphones for now, since that is what you have asked about...

Looking at the genres you intend to record and how – which from the information you have given I think looks like relatively old school, i.e. live through an analog desk direct to tape? – maybe a better way to approach this is to set-out for us how you would go about setting up to record a standard 4-piece rock band in your space with your existing equipment? List all your mics and where you might put them on drum kit and amps etc and then we can pitch in with suggestions on where the most usefully targeted microphone upgrades could happen? Maybe even just ideas for optimising what you already have.

I know you said you're in no rush, but it's almost impossible to usefully open a discussion like this with no indication of budget at all. Something like asking the question: "How would you improve the microphones in this rig with $1k?" or $5k... etc... will be a helpful guideline, perhaps before well-intentioned folks pitch in with suggestions like a pair of vintage U67s for your overheads. Especially as you have opted to post this in 'Low End'.

Kia Ora, seems likely you’re a fellow kiwi… though I’m in Germany at the moment. You have some great stuff already, seems like maybe large diaphragm condensers are where things could be improved. You have the OC16 - if you’re in NZ would pay to check out the current prices of the Austrian Audio line on Rubbermonkey.co.nz - they were already below US prices in some cases, and they’ve just dropped them even more. I just ordered a matched pair of OC18s from them (at the previous price). In your shoes I would think about a matched pair of LDC. A U87 would be great - but very expensive new and fakes abound second hand (there’s a U89 on trademe today which would be pretty sweet but I can’t afford).

I’ll also put in a plug for the Beyerdynamic M88 which is great on vocals, kick, percussion and lots of other stuff.

James, cheers, yep the room is for sure important. I think what many who espouse such blanket platitudes miss is that many folks are in fact not producing in a bedroom!

If you want a great drum sound, tune the drums, set them up in a space that sounds great, and tell the drummer to get a good night's sleep and drink lots of water. Maybe your great sounding drum room is a local hall you've hired for a day. Maybe it's your mate's double garage.

Thanks for the guidance. If I was setting up for a punk band, I'd try to track everyone together as the performance is going to be key, and honestly it's way faster.

Kick, D70 in, OC16/PR40 out.
Snare, 57/M201/I51
Overheads, M5. Maybe I could use another option here, perhaps a pair of Heil PR30's for a ribbon-y sound.
Toms? Nah, that's enough drum tracks. But if I had to, same as for snare, I have some options. The D770 is a great mic too.

Guitars, e609, D770, plus all the snare options. M320 ribbon for too-bright amps and V30s.

Bass, DI, plus the PR40 or OC16.

Vocals, 58 if that's what the vocalist wants; I only have live sound experience here, where we just throw up a 58 cos there are four bands playing in a night and you just want to tune things to not feed back. I'm clueless here, and young people are writing all sorts of stuff that doesn't sound like the Slayer and Fugazi I grew up on.

Help? PR-40, OC16 should cover some bases but I'm sure there are other things I don't know about here.

Thanks for all comments so far

Well, notwithstanding that high fidelity may not necessarily be over-arching aim of your average garage punk-rock band...

There are of course zillions of options. So to make this a slightly simpler thought experiment (for me, for you it's a real one!), a few of us here have a kind of fun wee mantra along the lines of "you can never have too many Beyerdynamic mics", so let's just say for a moment you went down that route first...

Phase One: I would immediately go out and buy two or three Beyerdynamic M160s, a pair of MC930s, two or three more M201s and two M88s.

Phase Two: everyone should own a Sennheiser MD-441 and an Electrovoice RE-20; it's the law around these parts.

Phase Three: moving on to Shure... Shure KSM141s are excellent utility SDCs that would add an omni option to your locker and I happen to love the flat sound of the good old SM81 as well for certain things, especially percussion. You can usually find used KSM32s for a bargain - these are also super-useful, versatile LDCs on lots of sources, including overheads.

And finally, for your retirement present to yourself: a pair of Coles 4038s.

This gives you several additional overhead mic choices, hi-hat mics, snare bottom mics, alternative guitar cab mics, tom mics, alternative vocal mics, spare LDCs for amps & room etc. Many of the most useful Beyerdynamic mics also happen to be hypercardioid so you are helping yourself with spill there too if you intend to do the 'one room' live capture thing.

With that lot for starters, even just Phase One, added to what you already own, I'd say you'd have a wide range of '4-piece rock band' base-configurations covered in spades.

First of all, I think it's great that you're thinking about offering your services to younger groups! I was just thinking about the very first throw-together recordings I did with my jazz nerd friends in college, and how much we would have loved to have access to a good-quality situation for cheap or free.

Second, it looks like you have a really nice start already. If I were you I'd probably prioritize a couple better-quality SDCs, a couple better-quality LDCs, and a few more top-quality dynamics to get the most out of your situation. I'll second the recommendation for Austrian OC818, you already have the 16 and these are phenomenal do-everything mics with endless versatility. I'm a big U87 fan (unlike many GS folks...) and I don't think that's a bad idea at all if the money is there, particularly if you can find a (genuine) used one in good condition. I know things tend to be expensive getting to NZ, though. Beesneez mics next door in Australia might be a more affordable option that's genuinely great quality. One of his U87 clones and a couple of his KM84 clones ("Lulu" I think) for the SDCs would be a strong option! Beyer MC930s in a pair would be good too.

I think you've already made some smart choices with the Beyer and Heil moving-coil mics you have. I think adding an M88 and an Electro-Voice RE20 to that stash would be useful.

A summary, I guess, would be a pair of Austrian OC818 (or comparable Beesneez U87-style), a pair of Beyer MC930 (or Beesneez Lulu), and a couple more awesome chunky dynamics like the M88 and RE20. If I were spending your money!

Regardless, fun project, and I hope you get to record some great groups. I've had the pleasure to work with a number of excellent Kiwi musicians over the years here in the States, including a guy who used to be in a band with Bret McKenzie, and is similarly witty and charming.

bugsmasher, kia ora! :-) I appreciate the tip on Austrian Audio being good value in NZ too. My OC16 sounds like no other LDC mic I've used, though like many "poor student" types that's limited to the likes of Rode NT1 and AKG C3000B. Smooth and unhyped, detailed without being bright.

A pair of OC818's may be the ticket, perhaps sooner rather than later before someone realises they could cost more and still sell.

Progger, thanks for your kind words and attention... I think you're right and a few more options for pairs of things is a great idea. The Beyer MC930 has been recommended here twice.

I had an RE-20 that was stolen, and was the inspiration for buying the Heil PR-40. It sounded excellent. I will for sure watch for TV companies shedding stuff that's too dinged up to put in front of a camera, plus I get to say "donkey dick" which is fun. 😂 I assume other countries use this nickname for the RE-20 - if not, they should!

James, thanks again for a well thought out response. I'm glad it's not just me, part of what prompted my post here was the fact that nearly everything I thought I'd like was made by Beyerdynamic.

I like your idea of a phased approach. And I approve of your selection, too. I tried an M160 about 25 years ago and wondered WTF this is useful for 🤣 I was working at the time for a Beyerdynamic retailer, it was considered a niche brand at that time. The only mics that really sold were Shure SM58s and cheaper clones, so the Beyerdynamic M01 was our biggest seller.

I think if I had one mic to record a whole band, I'd skip the usual SM57 and make it an M201. Yes, more of these, a great idea.

The M88. It sounds scooped and was shaped like a long-handled vocal mic, so way back when I had access to them, I wrote them off as a weird sounding and very expensive SM58 that probably wasn't worth buying. I never considered the utility for recording at that time. This mic is going on my list; I like my D770 and folks seem to say that's a "poor man's M88".

A retirement gift is a great idea, and a pair of ribbons is nicely symbolic. I've seen that Coles mic in pictures of sessions at places like Abbey Rd and wondered what it was, thanks! Will do some reading on it.

I don't think it would be wasted. I am not saying get a U87 specifically, but your list, while well-selected, does seem to lack a high-end "spotlight" mic. Something lead vocal worthy.

I also don't see a pair that I would enjoy using as drum overheads. I think you could do better than the Rodes for an SDC pair. Which would also be helpful for acoustic guitars, pianos and ensembles like strings etc. Another idea for overheads is a pair of ribbons.


I could pile on with a list of some of my favorites, but since the goal is to avoid regret (an admirable goal, IMO) I'll leave it at suggesting a principle of going for targeted upgrades rather than "adding to the collection" You probably have 'enough' mics to record a typical band. Your bases are covered. I think you won't regret going for fewer pieces of better quality.

Since you're in NZ, which is likely party to some tariff agreement with AUS, I'll second @ Progger 's recommendation on the BeezNees mics. They are having a pretty sweet sale right now and a pair of Lulu SDC's is darn cheap. There are certainly better SDC's out there, but not at that price. A pair of Beyer MC930's costs twice as much. Their BN87i is pretty much a no-brainer at current pricing: it sounds more like the original Neumanns than the Neumann's current Ai version. Your clients are going to want that sound on vocals.

Depending on local pricing, an Austrian Audio OC818 might be a luxury, or it could be a bargain. Having alternate polar patterns available can be a real problem solver. An OC18 + OC818 make a dynamite M/S pair when you want to track something in stereo but still need to be able to pan it around come mix time.

Beyer m160's are expensive, but boy are they useful. Many ersatz drum tracking spaces are way too splashy, but a pair of m160's as overheads will fix that. A pair of m160's will also save your bacon the first time a group shows up with both a fiddle player and a banjo player.

Getting an RE20 is a good idea. Sell your RE320 and apply the funds towards an upgrade.

David

joeq - I hadn't considered upgrading things I already have. You're right, I CAN record a whole band already with what I have, so providing myself with more/better options is a good approach.

I think you are right, my Rode M5s are pretty much the cheapest pair of SDCs you can get... I can surely do better.

David - Beeznees, oh my gawd, that name! It's terrible. I guess if the mics are good, that's what matters tho.

Cheers for clearing up the usefulness of the M160. Lots of rock/punk/metal drummers hit their cymbals way too hard, so I think a pair of ribbons to tame them would be a good thing to aim for.

So far my "shopping list for the next wee while" is:

Another OC16 to make up a pair, since I really like how this mic sounds.
Pair of really nice SDCs that can do cardioid and omni, perhaps Beeznees Lulus.
Pair of Heil PR-30s.
Spotlight vocal LDC - bite the bullet, save, and get a U87 I reckon.
Keep buying used M201s as they come up.
One M88, then another if it's useful.
Pair of really nice ribbons, probably M160s.
Another kick drum mic that's super clicky, maybe Audix D6.
Donkey dick.

Adding a good quality mic stand periodically is probably a wise idea, too.

$4k for a single vocal mic? IMO you would be better served with 4-5 high quality LDCs that give you tonal options.

Concerning a Neumann U87Ai, I have to agree with @ ShellTones . I've always felt actual U87's were way overpriced. For that kind of money, I'd much rather have a Soyuz 017 or a Manley Reference Cardioid because a flagship vocal mic is usually a valve mic and they both sound great. Since your existing mics and gear lean in a traditional direction, I happen to think "sound of rock and roll" is a suitably processed U67. The B67-269 is one of the best modern clones and a total bargain. The "sound of country" is a U47. It's also the sound of a certain billionaire pop diva who started out in country. Neumann can't make modern ones, you can't afford a vintage one, so clones are all there are. The Heiserman H47tube is one of the best. A Beesneez BU47 offers a more historically accurate tone and sells for half the price.

Yeah, BeesNeez is a funny name but look up who the owners are, and you'll be in on the joke. Their original mic badge was terrible as well, but folks here on GS talked them into changing it and the new one looks fine. Nobody but you needs to know what the BN on it stands for. Tell your clients it stands for "balls-out now", then hit record.

I don't normally argue with James Lehmann, but I would not go pining after a pair of Coles 4038's. They're fragile, too heavy for a normal stand, hard to position, the necessary shock mount is an abomination, and they'll probably arrive broken. Leave that crazy stuff to Abbey Road and Blackbird Studios. (They have huge mic lockers and in-house repair shops.)

David

Happy to be argued with on all points, David!

I agree in some ways you wouldn't want a pair of heavy and seemingly delicate 4038s anywhere near a punk band. On the other hand one could argue that they're one of the few mics we're discussing that actually lived through and 'survived' the punk era of the 1970s, which could be counted as a mark in the plus column for their lasting resistance to abuse! I remember seeing a pair of these in the first recording studio I ever went into in London, probably as a teenager around 1980 and being overwhelmed by both the look and the sound. So I accept that for me owning a pair in my retirement would represent the realisation of a childhood dream, and that this may have influenced my recommendation!

Also delighted to be argued and disagreed with on the old dichotomy that always comes up in these threads about filling out a mic locker, which is: many different mid-range options vs sinking one's whole budget into fewer high-end mics.

I suppose I was partially influenced here by the fact that this has been posted in 'Low End', along with a close read of the background info provided by the OP.

But going the other way for the moment and slimming down to a 'retirement' set of one pair each of super-flexible SDCs and LDCs then yes, I could suggest the OP go with a pair of Schoeps MK5/CMC6 (which I don't own) and a pair of Neumann TLM170s (which I do). And keep them forever well out of reach of punk band drummers!

I’ve been very tempted by the Beesneez stuff. You could get their cardioid U87, a pair of lulu SDCs, another OC16, and a pair of m160’s for the price of an NZ new u87. I’ve used a vintage u87 (vocals, great on my and other voices on the session) and the lulus (overheads) and they were great - I’d love an 87 but based on the opportunity cost and my love of microphones I’d probably go for the group than a new 87ai… haven’t used the Beesneez 87 but they’re clearly a quality operation making quality mics.

I think I picked Low End Theory because I'm not aiming for The Best Everything; rather, I'm aiming for The Most Fun For Me! I won't be running a commercial studio, more like a community arts center. So the pressures are a bit different.

I listed a "real" Neumann spotlight mic because, well, similar to James' feelings on the Coles - I really want one! You only get one lifetime, so why the heck not.

And also, similar to bugsmasher's comment, more shiny things is better than one really shiny thing. A spotlight mic will likely be my piece de resistance - the last mic I'll buy, the icing on whatever GAS cake I've baked. Retirement means no more income, so there is sadly an end date on my ability to splash out. I imagine I'll charge enough to cover rent and gear maintenance.

Delicate capacitor capsules don't like getting wet, and many heavy-style vocalists have rather moist voices! I did one recording session where the LDC started making a whistling sound after a couple of takes, and we had to break to let it dry out. Not something I'd subject an expensive mic to. We switched to an SM7 in the end. The lesson was, more microphones is more better. Fun times. :-)

I bit the bullet, and ordered some Lulus - you can't argue with 60% off! I do not expect I'll regret this purchase.

Thanks all for your direction, I would not have landed here without your advice.

I will look forward to seeing what the Black Friday Sales fairy brings me this year...

Beesneez – AKA Ben Sneezby, I'm sure you can imagine whence he derived his brand name! – makes great mics, I'm sure you won't regret those Lulus. He's probably about as good as it gets in terms of what's manufactured "locally" in Oceania, I'd bet.

I'm curious if Japanese-made mics, many of which are top-tier, might be more affordable in NZ than German-made mics. There are many models of Sanken, for example, that plenty of engineers prefer to comparable Neumanns.

We're a very small country; population 5 million. Plus, we're about as far away from anywhere as it's possible to get, so shipping costs are high. Local distributors are competing on price against US outlets that can take advantage of economy-of-scale.

The result is, there's no money to be had in niche products, so by and large they don't get imported :-)

We do have brick and mortar shops that stock limited selections of Shure, Rode, Beyerdynamic, Audix, and Sennheiser mics, thank goodness.

Going by used mic listings, I think the most popular mic here is the AT2020USB!

It's unfortunate that you have such limited access to non-mainstream products. Boutique makers produce some of the most interesting gear out there. Fortunately, you do have one boutique outboard supplier there who can stand with the best: Buzz Audio. I have several of Tim's pieces and they are excellent.

It's not so bad, we have the internet! You get used to having no warranty service, and buying based on reviews.

IIRC Tim Farrant from Buzz used to run a studio in the city I live in, I think he is still here. I visited his Buzz workshop once, moons ago. He was making an optical compressor that somehow tracked at FET speed. Black magic! I'm really happy to hear his gadgets are well received.

I'm not even gonna bother offering suggestions for mics to add to your collection, you'll get plenty of input from the other GS regulars... I'm just chiming in to say that a studio based around a Soundcraft 1600 and a Fostex E16 really brings back fond memories! The 1600 was one of my favorite desks workflow-wise, and tbh I'd probably still feel more productive running a session in an old-skool control room such as yours than on any DAW-based modern studio!

Good luck with retirement...