Novice-Noob jumping in... lots to learn...

[Len911]

Here's a couple of youtubes done with a Neumann TLM 102. It's not a shootout or comparison, but I really like the articulation and neutral warmth.

https://youtu.be/X2M4_aWlsJg

https://youtu.be/l3uyyvKXF0k

https://youtu.be/Wbp56vkyhI8

https://youtu.be/Nuj80ivoRa8

https://youtu.be/Khaj3AKWAMU

https://youtu.be/8xfQmJFZ_R0


Hmmm, I really love this mic,lol!

[Len911]

Okay, one more because this will be the same setup you will be using

Recorded with a Neumann TLM-102/Focusrite Scarlett 2i2/Logic Pro X

https://youtu.be/TgL6Jxs0RKM

[funsongs]

The Sony headphones are fine!!

The first thing that pops into my head is, okay what is the lowest price Neumann, the TLM-102. $700.

Here's the thing, you live in LA?

I will look into that poor man's Neumann...

FWIW - I did live in the South Bay Area of L.A. County - for 35 years! - but have been residing
in our family hometown of San Diego since 2010. No longer an Angelino.
We've got a Guitar Center and a new Sam Ash in SD, so we're not totally 'rural'.

[funsongs]

Here's a couple of youtubes done with a Neumann TLM 102. It's not a shootout or comparison, but I really like the articulation and neutral warmth.

https://youtu.be/X2M4_aWlsJg

Hmmm, I really love this mic,lol!

FWIW - I never liked that Sugarland song - though it was somehow a hit; just sounds too much like Bubble-gum (no sticky pun) music; but that stated,
I think this guy's version is a superior rendition than the original.

(ed, fixed typos, I think)

[mojobone]

I believe most 'holy grail' vintage mics are a waste of money, in the average situation; the classics were built to record acoustic orchestral instruments in music halls to analog tape, and from a distance. If you're not doing either of the above, they'll generally have more sizzle than necessary, and if you're not careful with the placement, you could end up with a harsh mess. This is possibly less true for Neumann's broadcast-oriented LDCs than AKG's; still, you can always roll off excess top end, and you can't restore what's not there to begin with

There are some very good reasons why modern engineers are rediscovering ribbon and other dynamic mics; they have a very focused midrange and can pick up less of the room than the source, which can be a great thing when your room's not helping matters, as is often the case in a small studio. Still, condensers can be very nice when you need to bring out the grain or 'fry' in a lead vocal or the air in group backing vocals.

The MDR-7506 is made for DJs who are cuing mixes in loud environments; another way of saying that while they're durable and have plenty of output, they're also forward in the upper mids, and not really designed for mixing, though they're still great for sussing out editing and performance flaws, and if there's harshness, you're really gonna hear it, on those.

Accurate monitoring is the real dealbreaker in nearly every recording situation; the ultimate quality of your recording is really more about what's in front of the mic and your ability to accurately hear the changes you're making than the specific mic/signal chain.

[Mark Kaufman]

So true. I was at a recording studio a few years ago and was able to choose from some spectacular classic mics...only to realize that boring, unsexy mics are often the right choice, depending on the situation. So, sorry Neumann U87...you were beaten out by a Shure SM-57. Probably not the first or last time.

[Len911]

The classic vintage mics are getting old for one thing,lol, and yes you can replace the components, of course when it comes to tubes, what with NOS (new-old-stock)

Years ago I used to use a Shure SM-58 to sing with. I upgraded to a Neumann TLM-193, and it was like I had been singing through a cardboard toilet paper roll,lol!

A small diaphragm is going to have a quicker transient response than a large diaphragm. It's just not going to be as open as a large diaphragm.

Here is a mic shootout. My choice is the Neumann U89, because it sounds more natural like I'm in the same room with this lady. The SM 57 is more hyped and narrow, fine for Mick Jagger and his type of rock, but not really flattering imo for her song and style.

U87
https://youtu.be/xS18hqLV_NQ

U89
https://youtu.be/xS18hqLV_NQ?t=1m8s

SM57
https://youtu.be/xS18hqLV_NQ?t=7m46s

[Len911]

I agree though with Mojo that vintage isn't always better. To me the Neumann TLM-102 is a more modern approach, it's a little more forward, or has a presence bump, though a very nice one, a Neumannesque smoothity.

If you go to the upper range for AKG C12, which you probably have to get the Telefunken reissue, that might be my choice for greatest mic of all time or the Telefunken Elam 251, but the price is in the clouds!

I once had an AKG 414-TLII, maybe I shouldn't have gone for the TLII, it had an artificial sounding presence bump. I could only tell though when singing.

Much of the price of some mics have to do with the switchable polar patterns. If you only need cardiod, they're much cheaper.

Imo, for budget, and versatility, and especially for vocals, and in the context of having that "one" mic, I like the TLM-102 from what I've heard. Ok, so spend an extra hundred and get an SM57, they're not as much a strain on the budget, if you want later.
It's sort of like the sampling paradigm, you can down sample, but it really makes no sense to upsample. In other words, you could through compression, eq, and other means downgrade the sound from a nice ldc, but not so much with a cheaper mic to a more expensive ldc, although there are probably several modelling and IR's to try.
Just my 2 cents on a somewhat controversial topic,lol

[Samwinski]

I work with Studio One and Reaper, both are for Win and Mac and come with a lot of good FXs. Studio One is easy to learn and use, Reason is very customizable.

[TimWalter]

jumping a little late on this thread. not sure if my comments will add anything to what has been said by other much more experienced and knowledgable folks on here, but here is my 1/2 cent.

Studio one is very intuitive, IMHO. Its what I started on and still use some. Logic is very powerful and is (based on my understanding) considered a pro level DAW second only to Pro Tools (a distant second, but still second nonetheless for pro studios, I think.). As Andy said, for $199 its absolutely amazing what all you get. But one of your posts said you got it for free, Peter?if so great fo you.

I second the Apollo interface option Andy mentioned. I have an Apollo and love it.

I saw the comments on the Apogee (duet and one). I was recently asked by a friend what to get for his own private attempt. I did a LITTLE research on the Apogee, and what I read made me shy away from the One. ALl the praise Ive heard from Michael and others like Ronan praise the Duet, NOT specifically the Solo. When I took Ronan's boot camp in 2013, he used a Duet in his Studio B (he does 99% of his work in Studio A, of course with all big boy toys). I hesitated in conflating the One as a less expensive option- meaning less features but same sound quality-to the Duet. I read some reviews that steered me away from that -seemed to be a lot more complaints about build quality, etc, and other points I dont remember right now, that made me steer my friend to spend the extra money for the Duet over the cheaper One. The Duet was $500, I think at that time (around black Friday. Today its $649 at Sweetwater.. The cheapest Apollo is $700. http://www.sweetwater.com/store/detail/ApolloTwinS. The apollo is a no brainer at this price, IMHO. It has Thunderbolt, 4 TRS outs, etc.

My 1/2 cent.
Tim