Quote:
Originally Posted by
DeadPoet
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FWIW I had a P12 for a long time and got a Flea trio a year ago (47, 249, 12). The Flea 12 is leagues above the P12 and what once was my best microphone now sounded like a thin, metallic sounding harsh mic... scary moment for me.
btw I don't have the F12 anymore, traded it for a matched second 249 and couldn't be happier - between those 3 microphones I liked the 12 the least. Lows were a bit boomy and highs a bit too detailed/loud (when compared to the usefullness of the other two microphones). I know a pair of 12's is a classic OH microphone but since this was a major investment for me I could see getting more return in a stereo pair of M49's - and the last year this has been proven to me, couldn't be happier!
Herwig
I also have the Flea 47 and 49, and actually prefer them as drum OHs to the 12 if you're trying to capture the whole kit. The 12 is great if you're just looking at cymbals. But for me the 12 absolutely rules on piano, top of Leslie, higher voiced singers and background vocals. Very nice on ac gtr and in fact anything where you need clean and smooth high end without a trace of spittiness or transient distortion.
All the Flea mics tend to have a sumptuous low end. One man's "boomy" is another man's "Rubenesque". But if you have a pro room and can get off the mics a bit you'll see they have a great reach and things size up nicely.
-R