I currently own (forgive me if some of the product names aren't quite right):

Octava 319 from late 90s - modded by me - it's wooly and kinda dark and noisy.

Shure 545 Unidyne III - transformer removed by me - it's airy and clear and sometimes beats out LDCs on vocals. It needs a load of gain.

3u audio Warbler VI - brightish multi pattern version - not bright in a false harsh way, but smoothly bright and pushes vocals to front of mix - currently 'on ice' cos it's broken (intermittent signal and squeals) too costly to send back to 3u - out of warranty and UK mix repair is expensive even just to be looked at ...I'll get the soldering iron out at some point.

Octava MK012 90s russian build with Omni, cardioid and super cardiod capsules - surprisingly versatile and lovely on steel stringed acoustic..can be a little grainy. Nowhere near as 'dark' as everyone makes out.

AKG p120 - surprisingly full sounding and has a smoother, tamed high end for a cheap mic - kinda similar to 319 in tone. Noisy too but a sleeper for sure.

ISK RSM-5 ribbon modded (tensioned) by me - surprisingly good, though rarely gets used as it's top end is rolled off in a way that I reach for MK012 before this. Awesome as a side mic in a mid side set up with a bright LCD

Audio Technica dynamic Omni from early 80s (I forget the model name) - absolute beauty, reminds me of EV635a in tone, secret weapon on guitar cab and close micing acoustic guitar

Techzone Audio Stellar X2 - schoeps style transformer less LDC - airy, detailed but really lacks low mid/lowend punch unless you eat the thing. Very quiet.

AT4047 - nothing like a 47 in tone, but a lovely, forward, warm mic that excels on baritone and never sounds shrill, always classy - not as much of a character mix that some make out, very versatile.

Electrovoice hyper cardiod dynamic (i forget the model number) - if you aren't on top of it and right in it's sweet spot it's thin and inconsistent..in that sweet spot it's a gem.

Behringer B1 - is what it is. Bright, pretty grainy LDC..but sometimes it's honestly just the ticket. Need something to sit atop the mix? I sometimes grab the B1. Not all bad for the £60

lots of Blue

i think they are the XL II BULS. from the late 90s.

the u195 is an older soundelux.

i have 3 of the MD1s always liked them. one is out at my band's studio in detroit.

i think that one is the MD1a.

the ones i have at my place have the old serial connector for the mic cable to power supply.

Update.

I can't hide I had a year of diving into the history of Electro-Voice!

Awesome!!

Large Condensers:
Rode: NT1A
Sennheiser: MK4, MK8,
Neumann: TLM 49

Small Condensers:
Sennheiser: e865, e614,
Haun MBHO: 2x MBC 440

Dynamic:
Sennheiser: e935, MD421

MicPreAmp:
TritonAudio: FetHead Phantom

Mostly recording free-improv / jazz and related musics, usually with myself on electric guitar.

Condensers
2 AKG C5900
1 AKG C5600
1 AKG C417pp
1 Aston Origin
2 Audio-Technica AT 3035
1 CADaudio M179
2 MBHO MBNM 440
2 SE Electronics SE1
1 12 Gauge Red12
1 12 Gauge Green12

Dynamics
1 Beyerdynamic M201tg
1 Beyerdynamic M88
2 Beyerdynamic M81
1 Electrovoice RE50
1 Red5Audio RVD-1
1 Sennheiser e906
2 Shure SM57

Ribbons
2 Tbone/Xaudia RM-700 (re-ribboned and transformers changed etc by Stewart Xaudia)
1 GoldenAge Projects R1 Active mk3
1 Tbone RB-500

Violet Black Knight
RE-20
MD421
AKG D112
E906
E906
SM57
RM BIV1
T-BONE RB500
KM184
KM184
In my amateur hobby studio I only record guitars

Hey just dropping a line in order to be notified about next posts. Keep it up. thanks!

Neumann U87ai
(2) Soundelux U195
Royer R122
(2) Royer R101
(2) AKG 460B CK61 ULS
(3) Sennheiser MD421
Shure SM7B
EV RE27/ND
Sennheiser E906
Sennheiser pro37
Telefunken M80 Gold
AKG D112
(4) Shure SM57
Shure 545 Unidyne
(2) Shure SM58
(2) EV 635A
Audix i5
(2) BLUE Encore 200

small but honest work here

octava mk012 (bill sitler mod)
sennheiser md441
Pearlman tm1
Peluso p414
Langevin CR-3A (im planning on selling actually)
(2) sm57
sm7b
bullet harmonica mic

You know, this is a hell of a nice selection for its size. Why selling the CR-3A though?
--scott

because I am foolish. ive honestly only had it for about 3 days, hah! but I would love to either try a Gefell MT71S or UMT70s or put the money toward a decent stereo/2 channel preamp (im currently just rocking a single channel bae 1073dmp) which is AMAZING but would love a 2 channel tube pre.

the CR-3A is the USA made one if that makes a difference. I got a decent deal on it which is why I see an opportunity to flip.

would I be trading apples for oranges?

thanks by the way! its easy to feel like you don't have enough lol. I plan on keeping my "arsenal" this small with each mic having its own purpose in my head. (famous last words)

No idea, completely lost track, some lent out, in storage, forgotten about - unofficially borrowed by family members. I have over 60 mics but couldn't list them all by a long margin. I guess I'll do an audit if I ever move house!

It's a good mike and it's not my thing at all but it's different than anything else you have (and it's way more forward than the Gefell for the things where you might want that). It wouldn't be my thing but spend some time playing with it on things you want front and center in the mix before ditching it.

If I were going to flip something I'd trade that SM-7 up for an RE-20.
--scott

okay I just used the CR3A on some acoustic guitar and damn it sounds really good. has that tight fet mic sound.

made a video here
https://www.youtube.com/watch?v=7HtExDKJbQg

But now add a vocal and you'll have a hard time getting the vocal to sit on it because it's so forward. Which some might say is an argument to use the CR3A on vocals... but is a wonderful thing if you have a dense mix with the acoustic guitar fronting too.
--scott

Anyone here has a low end Decca tree that he/she is using?

in life's great many curveballs, ill gladly take this one

I have used some Decca-like configurations, but the official "Decca Tree" configuration kind of depends on the weird high frequency beaminess of the M50. You can do something similar with your choice of omnis and "acoustic pressure equalization" balls on them... but be aware that you'll have to change the dimensions away from the "official Decca Tree" ones.
--scott

So a Decca tree with other omni directional microphones would not work? I am quite sure I heard a Decca tree in the Air studio's without the M50's.

http://recordinghacks.com/microphones/Neumann/M-50

3 of them. 37000 euro. For 3 Neumann M-50 microphones.

The m50 is the decca tree for distance recording because the highs fade-out on distance. The m50 has extended highs. You can easily use other microphones if you place the microphone closer to the source. Maybe a touch of EQ.

It might work, but it won't be a Decca Tree any longer, and you'll have to fiddle with spacing and placement because they won't be the same as with the M50.

This isn't bad... it's just not the same.

But you do need some beaming to make it work.
--scott

Maybe it could be at least...
Art Decca.

It won't "not work", you'll still get signal onto tape... it just won't be a genuine Decca Tree configuration and hence, you most likely will be scratching your head wondering "Why did anybody ever think this was a good idea?"

Believe me, I've tried. A faux Decca Tree array with conventional omnidirectional mics usually just sounds like a crappy unfocused Spaced Pair array.

Try adding APE balls to make them less omnidirectional. Also you can use a larger omni that is kind of beamy to begin with, like a 414. It's not the same as an M50 but you can fiddle with them and make them work, whereas with an unadapted schoeps or earthworks omni that really is omni you don't have any chance.
--scott

Then why oh why are those microphones out of production?

1. They don't make the tubes for them.
2. The capsules were handmade and hand-tensioned using a method that is very very dependent on the skill of the operator, which makes for a very expensive product.
3. Really, I don't think they sound all that great.

Neumann has tried for a replacement with the M150 which is similar in pattern but still not quite the same.
--scott

APE balls.
Hmm...
Must be a joke somewhere.