After a healthy amount of research and listening at a few local music stores, I've ordered a AKG Perception 220 to make recordings with.
http://www.akg.com/site/products/powerslave,id,1055,pid,1055,nodeid,2,_language,EN.html

The consensus seems to be that this is a helluva mic for the price. I could have spent more and got a more "sexy" but this sounded very nice to me when compared other Shure, Rode, Audio-Technica products...

I've never owned a mic like this before and its going to take a little getting used to. I'm used to "eating the mic" and that's not going to work for this baby, lol...



Should be fun!!!

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Bill in Dayton

Bill good luck with it hope to hear great things in the future !

I bought a AKG Perception 220 and the first thing that comes to mind is WOW, just a totally different kind of microphone...

I've learned its a much more sensitive mic than anything I'm using live and that it doesn't respond well if you get to close...

I've having to trim off signal substantially compared to the dynamic Sennheiser mic I was using.

Also, things like AC's units clicking on in the other room, the dryer "buzz" alerting us its cycle is done, etc., are all getting picked up...

This is going to take getting used to a bit...



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Bill in Dayton

When I got my first condenser mic I could hear the traffic outside and I live on a quiet cul de sac type street. Drove me nuts trying to figure out what all those weird noises were in the background, like you said fans, air conditioner, dogs barking a block away.
What I do now is turn it down so it's not so sensitive that way I can get a little closer to it and it doesn't pick up the background, as much.
Still a big difference to a handheld dynamic.
But that sound....

Impressions continued...

I'm hearing what might best be described as subtle sonic "implosions" on various B's, P's, etc...

Sounds like a pop filter is called for. Are they pretty much the same or are there big differences between some brands?

I'll be posting something up on my website to let you all see how I'm progressing. Probably just piano/vocals...



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Bill in Dayton

Bill, if I may impart a small suggestion?Condensor mics can have issues with the "proximity effect", in that they will become quite "boomy" when you get up close and personal, as you would with a dynamic, even at lower input levels.

As a rule of thumb when using condensors live, if you hold you hand with the thumb and little finger extended and the middle three tucked in, touch your thumb to your chin and adjust the mic until your little finger just touch the mic. then set up your gain levels after that.

I know it sounds a bit dumb, but it does work for live vocals.

Dennis

You're right on, Dennis...

I usually need to actually have my lips making contact with my "live" mics...this one I'm back about 6-9" or so...

Thing is, I have a pretty big voice (it comes with having a big mouth, I guess!)and I may need to move back another inch or so...



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Bill in Dayton

Yes Bill with a big voice you would definitely have to go back some more. But I don't think you will regret the change in mics, I haven't!

Used a sm58 for years, and then changed to the 87a, after using one in a studio. This soudns a bit corny, but audience members have approached me at gigs saying its a change to be able to understand as well as hear the lyrics. They were talking in general and not just about me, but I got the message and I have stuck with the condensor ever since.

Dennis

I've posted Love Me Tender on my website...
http://www.billcorfield.com/demo.html

You can compare the vocal recording on this new recording done with the condensor mic and the recording of It Is Well that was done with a Sennheinser dynamic mic...

I definately need a pop filter...

Comments, of course welcome...

After listening to the recording on a few different speakers, I think the bass frequencies from the mic need to be boosted a tad. On the other hand, I think the bass frequencies from the Tyros should be cut a little...

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Bill in Dayton

[This message has been edited by Bill in Dayton (edited 07-26-2008).]

Hey Bill, both great recordings. The recording with the Perception has much greater clarity and presence.

You can hear that at "full thottle" you would need a fair distance between you and the mic, but this is the beauty of condensors, you lose none of your mids/lows when you stand back, with a dynamic the vocal goes quite thin and unpleasant.

Thats a general comment and not aimed at your recordings though .

For mine, listening to those 2 recordings, the condensor is the keeper!

Nice website too btw!!

Cheers
Dennis

I honestly liked "It Is Well" better....

the vocal qualities are more well rounded.
Singing thru a condenser Mic is a bit tricky.

[This message has been edited by Dnj (edited 07-27-2008).]

Like any other instrument a new mic needs to be experimented with and you need to practice the best way to use this great new tool.

miden
"As a rule of thumb when using condensors live, if you hold you hand with the thumb and little finger extended and the middle three tucked in, touch your thumb to your chin and adjust the mic until your little finger just touch the mic. then set up your gain levels after that."

what a great idea!
I set my pop filter at that distance so if my lips touch the filter it is still a good distance from the mic, I'm so used to being right up on the mic.

[This message has been edited by mikeathome1 (edited 07-27-2008).]

Addressing the background noice with sensitive mics:\

I produced a remake of the hit single "They're coming to take me away, ha ha", as well as TWO sequals and a dozen other weird comic tunes for a guy that used the stage name of Napoleon 14th ( I forget the Roman numerals! ). He lived in a row home in Philly and we recorded and/or remastered 90% of the album in ProTools or on an Adat (remember those?)using a very high end Neuman U87 ( I think that was the number ). This mic has traveled with my client from his glory days in the Brill Building (NYC) recording for Neil Diamond, Carol King, Sammy Davis Jr, Bert Bacharach and countless others, and was so sensitive, you could hear nose hair moving! I can't tell you hpw many "lip smacks" I had to remove!
Anyway - the trick to our pristine vocal sound was to record the voice in a closet full of heavy wollen coats. It was the BEST tone I have ever gotten from any mic. No hidden sounds, no unwanted reverb, no unexpexted ANYTHINGS.

Try it !

I just love that song. I remember it when it was released in Australia back in the 60s. The flip side of the single was even better being the same song recorded backwards. What a blast that was lol.

Nigel... Thay sam gent recorded 2 followups:
1) They're coming to get me AGAIN, ha ha, http://www.youtube.com/watch?v=hiiHKOLiCG4&feature=related
and a very cool entry from Napoloian's wife:
2) I'm HAPPY they took you away, ha ha! http://www.youtube.com/watch?v=5m138-Fn5Tw&feature=related

The CD was released on Rhino about 10 years ago, and had modest success in the novelty market. I understand the single does very well overseas ( from the USA ).

The original was groundbreaking because the technology didn't exist to speed up his voice and stay in tempo with the song, so his partner developed a rotary knob controller that changed the speed of the tape wheels ( yes, TAPE! ), in real time....the technique was to slow down the tape speed as he spoke the words in correct rhythm with the music, which APPEARED to be slowing down. On playback, the reels' speed was constant, so the voice track raised in pitch. Genius!


[This message has been edited by Uncle Dave (edited 07-28-2008).]

Dennis hit it! Condensers are great if used properly.


Russ

U87... One of the workhorses of the music biz...

Uncountable hits recorded on that type microphone.