A bit of a tough comparison since they are not really level-matched. I like the AEA KU5a, but I like many of the others as well. For me, most condensers highlight reed noise too much, a bit like putting a magnifying glass over the parts of the sound I don’t want to hear. If you don’t mind DIY, for 3-400$, check out Mic Parts. They have some really great mic kits.
Sweetwater sax mic comparison
Been looking for a used mic around 3-400 bucks and found this interesting comparison of sound samples with alto and tenor. I was surprised that I liked the Rode NT1, it sounds very close to the Neumann u87 sample but I still prefer the Rode.
www.sweetwater.com
Best Mics for Saxophone – with Sound Samples - inSync
What are the best microphones for tenor and alto sax whether in the studio or live onstage? We audition 21 mics and let you hear them side by side so you can pick.
www.sweetwater.com
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Do you have experience with Mic Parts mics? They get pretty good reviews. They don't describe the differences very well between the mics, not sure which I would get. I know I like the U87 sound.
I have built 5 of their mics: 1 S47, 2 T47s, and 2 transformerless SDCs with cardioid and omni caps. I like them all. All have different flavors and textures and are useful in different situations. My favorite mic, though, is the AEA R88. But that is beyond your price range.
if you like the U87 sound, I’d be inclined to try the S87 or S3-87 kits.
if you like the U87 sound, I’d be inclined to try the S87 or S3-87 kits.
Cool. Tempted by the s87 kit, I've built tube amps and stomp boxes so it should be an easy project. Also thinking of the Warm Audio wa87, sound samples sound really close to the u87.
Sweetwater has a big condenser demo too but it's with vocals.
Such a comparison is limited by the sound and performance of a particular player, the backing track, equalization and mastering of the final mix.A bit of a tough comparison since they are not really level-matched. I like the AEA KU5a, but I like many of the others as well. For me, most condensers highlight reed noise too much, a bit like putting a magnifying glass over the parts of the sound I don’t want to hear. If you don’t mind DIY, for 3-400$, check out Mic Parts. They have some really great mic kits.
Either track would likely sound better in a mix. Unfortunately, neither the backing track nor the final mix were provided by Sweetwater.
Do you use the R88 as single or double ribbon depending on the circumstance, or just as a double?I have built 5 of their mics: 1 S47, 2 T47s, and 2 transformerless SDCs with cardioid and omni caps. I like them all. All have different flavors and textures and are useful in different situations. My favorite mic, though, is the AEA R88. But that is beyond your price range.
if you like the U87 sound, I’d be inclined to try the S87 or S3-87 kits.
I’ve used it both ways, but I mainly use it as a stereo mic in blumlein. I have recorded solo sax, cello, and oboe, woodwind quintet, jazz combo in a less-than-ideal room, and a sax recital in a nice hall. It always does a great job. I will stress, though, that I only use it with the AEA TRP or RPQ mic pres. Others seem to get mixed results with ribbons depending on choice of preamp.Do you use the R88 as single or double ribbon depending on the circumstance, or just as a double?
Wow, you have some expensive stuff! Out of my league for sure. I ended up buying a used Warm Audio wa87. Supposed to arrive today so I'll see how it sounds. I have Sterling ribbon but haven't been loving it, it is pretty low buck though.
That makes sense, AEA TRP pre-amplifies ribbon mics beautifully.I’ve used it both ways, but I mainly use it as a stereo mic in blumlein. I have recorded solo sax, cello, and oboe, woodwind quintet, jazz combo in a less-than-ideal room, and a sax recital in a nice hall. It always does a great job. I will stress, though, that I only use it with the AEA TRP or RPQ mic pres. Others seem to get mixed results with ribbons depending on choice of preamp.
Nice to know, thankyou. I love ribbons, I think they are my favourite type of mic.I’ve used it both ways, but I mainly use it as a stereo mic in blumlein. I have recorded solo sax, cello, and oboe, woodwind quintet, jazz combo in a less-than-ideal room, and a sax recital in a nice hall. It always does a great job. I will stress, though, that I only use it with the AEA TRP or RPQ mic pres. Others seem to get mixed results with ribbons depending on choice of preamp.
Maybe getting off topic, but in terms of ribbons, have you compared the Samar AL95 to the Voodoo VR2?Nice to know, thankyou. I love ribbons, I think they are my favourite type of mic.
These are two ribbons that have relatively flat, neutral sounds. Or at least have less high end roll off.
no, but I had a VR2. I’d buy the VR1 again but found the VR2 noisy. I have RME preamps so driving the VR1 is not an issue although I haven’t checked the impedance.Maybe getting off topic, but in terms of ribbons, have you compared the Samar AL95 to the Voodoo VR2?
These are two ribbons that have relatively flat, neutral sounds. Or at least have less high end roll off.
The SE Voodoo do have a very flat response, with much more high end than most ribbons. Very natural and very nice. I used one to record someone last weekend, it sounded great on a bright source.
I’ve never checked out the Samar, I’ll be doing some reading!
Another one to check out would be the new NoHype Audio CRM-1. JP designed it to be very flat without nearly the rolloff of the LRM-V (the one I own, which is great!) and seems to be really good. Also not too big, my LRM-V is a chonky beast of a mic and this new one is probably more nimble.Maybe getting off topic, but in terms of ribbons, have you compared the Samar AL95 to the Voodoo VR2?
These are two ribbons that have relatively flat, neutral sounds. Or at least have less high end roll off.
(The Samars and SE mics all seem really solid as well.)
Hey, thanks for bringing this to our attention. I hadn't heard of it. It does look like it has quite a bit more high-frequency rolloff than the LRM-2b, but it's very compact!Another one to check out would be the new NoHype Audio CRM-1. JP designed it to be very flat without nearly the rolloff of the LRM-V (the one I own, which is great!) and seems to be really good. Also not too big, my LRM-V is a chonky beast of a mic and this new one is probably more nimble.
Yes, JP says he puts the CRM in between the LRM-V and LRM-2B, sound-wise. I highly doubt the 2B has too much high end, I'm not aware of a ribbon mic that does (and your clips of it always sound extremely pleasing). But the CRM isn't supposed to be nearly as pillowy or floofy as the V. It's apparently just the mono version of his SRM ("Stereo Ribbon Mic") which, by all accounts, is really great. And much more nimble, space-wise, than any of his others, it appears.Hey, thanks for bringing this to our attention. I hadn't heard of it. It does look like it has quite a bit more high-frequency rolloff than the LRM-2b, but it's very compact!
Regardless, I trust his work very much, they stack up against my expensive mics impressively!
The no hype SRM is next on my list and FWIW JP described it as,
“The SRM-1 is more linear with less proximity effect. It's not terribly brighter, but has a more contemporary tone, while the LRM-V is thicker and darker, although for distance mic'ing, the SRM-1 is the more linear of the two.”
I would assume this applies to the CRM also
“The SRM-1 is more linear with less proximity effect. It's not terribly brighter, but has a more contemporary tone, while the LRM-V is thicker and darker, although for distance mic'ing, the SRM-1 is the more linear of the two.”
I would assume this applies to the CRM also
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