Guys, today I went to a studio with a C800-G, and I always theorized how I could get the sound of a C800-G with a plugin using a U87 microphone, which is the flattest mic out there, and I finally was able to capture the sound after testing multiple saturation plugins.

I used the Elysia Phil Cascade and got almost the same identical sound, but it will only work with a U87-style microphone.

TLM170i

Thank you so much for this remark. It has helped me quite a bit in understanding the magic of the Neumann M50. That quite frankly makes incredible recordings of orchestra's in a Decca tree setup.

I am sad the report that my friend and mentor, Clarence Kane or ENAK fame passed away a few days ago. I was one of his two apprentices and I valued his friendship, wisdom and all he taught me about ribbon mics. Rest in peace Clarence.

Sorry to hear that.
My sincere condolences.
Chris

Added a Roswell Colares today. Very happy!

Didn't Dino have that big 50's hit "Colare" on one?

Seems he already knew - Colare‘ oh ho ho oooh…

SM 57
SM 58
AKG D1000E
Sennheiser E609
Sennheiser MD 421 II
AT 4031 x 2
AT 4033a

My small collection for for recording indie rock in the bed room studio and band rehearsals.

If you can...
Snag an EV 635a.
They just went out of Production.

Really!! Good intel. Thanks Chess.

Thanks for the tip.

I hadn't really considered an omni dynamic. What do you like to use the 635A for?

It is a hell of a handy microphone. It has absolutely no low end, since it's designed for use as an interview microphone, but that lack of low end is a lifesaver when close-miking bass-heavy things. It's amazing for electric guitar and even electric bass, you just need to place it differently than an SM-57.

As omnis go, it's not really very omni with the high end drooping badly once you get 45 degrees off-axis. This turns out to be actually very handy if you want to use it as a room mike or in a reverb chamber. It's very midrange-heavy in that application but that's often useful.

How can they be discontinuing it? It's one of the most handy mikes EV makes.
--scott

Yep. Yours and Bob Olhsson's posts first clued me in on it.
Thanks! Chris

Just a singer here.
But love it on other stuff I've heard too.
'Lil RAW clip I found of mine today below...
Chris

Sounds like a really useful mic. Thanks!

Sounds really nice. Thanks for posting.

I remember reading about this mic from you guys earlier. I have a couple of RE-16s. Totally different than that?

That makes two of us.. right here in SacTown :>)
I'll bet at one time you knew they're super cardioid
Here you go- The Mic Source link
https://www.coutant.org/re16/index.html
https://www.coutant.org/635a/index.html

Waaay different.
But still way cool.

Comparing my 635 to my EV PL6 (closest thing I have to an RE15)...the PL6 is both brighter and clearer. 635 is darker and has kind of fuzzy mids.

Almost reminds me of the Beyer M160 but of course one is a hypercardioid ribbon and one is an Omni "non ribbon" dynamic. Different transient response and pickup pattern etc.

I've heard the 635a described as "Milky Mid's".

Totally different. The RE-16 is directional but with the variable-D trick that makes it sound uniform at different distances the way an omni does, and the RE-16 is a much wider band microphone with more extended top and bottom.

The 635A is a TV interviewer mike: it's designed to be low profile on camera, to pick up the interviewer but also the guy being interviewed, so it's designed with a wide omni-but-not-quite pattern. And it's designed with mechanical reduction of the low end response, because sometimes you have to interview people in steel mills. Also there are some tricks in it to reduce wind noise. They were in the SM-57 price range for years and would turn up used in the $25 range until fairly recently. Every TV station had a raft of them and so they turn up as prop mikes on TV shows a lot too.
--scott

On Soul Train they interviewed Stephanie Mills.
(General Mills was unavailable)
Chris

The 635 here had it's favorite use with the harp players.
HiZ TS trans x XLR to stick in their amps lives in the bag with it.

Seems kind of clean for harp to me.... but the fact that it doesn't pop easily and is wind-resistant might be a major plus here.
--scott

3 - AKG C3000
1 - AKG D112
1 - AKG C535EB
1 - AKG C214
1 - MXL V67GS
3 - Sennheiser e835
1 - Audix OM-2
1 - Peavey PVM-38
1 - Shure SM57
1 - Shure SM58
1 - Shure SM78
2 - Shure BG 4.0
3 - Shure Unidyne III 545

AKG
C414
- EB (original brass capsule)
- EB (nylon capsule)
- B-ULS
- TLII
- LTD (silver anniversary edition of the B-XLS)
- XLII

C3000 (original version)
C1000

Neumann
U87 (1976)
TLM 193

Electro-Voice
RE20
RE1000 (super rare side-address condenser from the 90s / needs repair though)

Audio Technica
AT4050

Shure
Beta58

Telefunken USA
M80

Sony
ECM-77B (lapel mic)

Clones
Warm: WA 87 R2
Pro AR: C414 (it looks like a 414, but doesn't sound like a 414. Not horrible for $80 though)

Funnily enough I was rooting through my mic boxes the other day dreaming about if I should buy anything next ..... I haven't bought a mic in years except a second 414 so maybe that says it all.

AKG C414 x 2 - the newer XLS version which is flatter than the XL2 so I think is better as a all rounder. Last used to record some percussion and vocals.
SE VR2 - lovely detailed sounding ribbon, nice as a side in mid side, and sounds great on many warm things. I always wanted a second one of these but rarely use blumlein. Last used on a Vox guitar amp.
AKG C481 x 2 - not a matched pair but enjoyable airy sounding cardioids. Great in a church, last used in the Barbican centre (London) to record a choir of 500 people.
Rode NT4 - a fixed 90 degree XY pair of NT5 capsules on one body which can be battery powered. It's a bit noisy and harsh but it's great when you need an instant stereo rig, and can fit in a windshield. Also last used in the Barbican.
Beta 56 - originally bought as a vocal mic for singing and drumming but sounds good on lots of things you need to sound punchy. Very good hyper pattern for a dynamic. Last used for live vocals.
AKG D112 - always have to EQ far too much to make my kick sit right for my liking but I've never got round to replacing it with something less unflattering.
SM57 x 3 - because no sht, they work on anything. Last used on everything.
SM58 - because there's always a use for a hammer. Last used as a door stop when loading in some gear.
Sanken CS3e - used mainly for dialogue but this makes it really good vocal mic when recording in the field. Last used on some wonderful acoustic sessions in a living room.
Shure PG57 x 3 - cheap/live versions of SM57s with drum rim mounts, they're a bit cheap sounding but built very well. Good on toms, really tight sound.
SE2a that I use as a talkback mic because it's pretty dreadful.
DPA 4061 - of which I have a few also for dialogue, but DPA originally made them as close mics on acoustic instruments. Used one once on a film with a busker; dropped the radio mic transmitter in the acoustic guitar with the head of the DPA just poking out of the sound hole and it sounded great once EQed.

- Shure SM57
- AKG BT-330
- Blue Baby Bottle SL
- 2x Stam Audio SA-87i
- Sennheiser e906
- UA SP-1 set
- Sonarworks Measurement mic
- Audio Technica AT 875 R