AKG C3000 vs. Audio Technica 4040

Hey, MS. Great vocals. A little sibilant, and the hi-hat's fighting in the same space as the sibilants. Really good singing, though.

OT, a mic should be chosen on a voice by voice basis. There's no other way. You have to choose the right tool for the job in hand. Find the mic that you feel best suits your voice.

The most versatile mic I've ever used is still the trusty SM58.
 
Morning_Star said:
Ribbon mics are not even commonly used at all anymore especially for vocals. They are mainly used on drums and string instruments. They might have been common 50-60 years ago. You don't know anything your talking about. If you have been doin this for 10 years you might need to take some schooling or give up cause you are struggling to be in it that long. And if that's true and you have so much great gear, what are you doing with a Tascam U-144 little sound interface that you still can't get to work right in Cubase.

In fact AKG doesn't even make ribbon mics!!! HAHAHAHA!!!

Maybe you need to read your post again and apologize.

I'm a professional mix and recording engineer. I work at major studios in ATL. And the Mic is not boomy. Maybe with those bass heavy monitors you have and a bad mixing room. But it's not the mic that's boomy.
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Good...since you live in ATL then you know people have produced tracks for. Try Stat Quo, Ak the Razorman, Luch Millions, Sawwed Off from L.O.D., Alize, just to name a few in your own town. I really do not care what you think. Look at the polar pattern and the low frequency of the Mic. AT 4040 sounds boomy in Patchworks...I am sure you know what that is too if you live in ATL. They have state of the art acoustics and equipment. Whatever though Guy...No beef. I thought we were all here to share opinions.?.?.? My name is hot in your own city...Ask bout G-Rush from PMP productions...LMAO...See what response you get...1ne.

The Tascam setup is my brother. I originally posted this cause I figured someone would have one and maybe experience the same problem. I use a simple Pro Tools LE setup with an M-Box. When I record for profit I go to a real studio with a HD or Omni setup. I do not waste my time at home. I let someone like Morning Star track the vocals and I put a hot mix on it and let Rodney Mills master the record...Bet you know who that is too huh....
 
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Patchwerk Studios is some dope sh!t...on the real....I've worked with a lot of well known cats just being affiliated with them.

You gotta watch what you say on here though cause there are people just lookin to discredit someone without knowing the type of work they are really doin....but I think you can learn from anyone. So be it...
 
C.U.R.S.E. Life Ent said:
Good...since you live in ATL then you know people have produced tracks for. Try Stat Quo, Ak the Razorman, Luch Millions, Sawwed Off from L.O.D., Alize, just to name a few in your own town. I really do not care what you think. Look at the polar pattern and the low frequency of the Mic. AT 4040 sounds boomy in Patchworks...I am sure you know what that is too if you live in ATL. They have state of the art acoustics and equipment. Whatever though Guy...No beef. I thought we were all here to share opinions.?.?.? My name is hot in your own city...Ask bout G-Rush from PMP productions...LMAO...See what response you get...1ne.

The Tascam setup is my brother. I originally posted this cause I figured someone would have one and maybe experience the same problem. I use a simple Pro Tools LE setup with an M-Box. When I record for profit I go to a real studio with a HD or Omni setup. I do not waste my time at home. I let someone like Morning Star track the vocals and I put a hot mix on it and let Rodney Mills master the record...Bet you know who that is too huh....
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First your production credits don't mean anything about your knowledge. I know some people that can't record at all the did tracks on Get Rich or Die Trying. The "biggest" hip-hop album of all time.

And do you mean Patchwerk? Lol. Yeah I know the place. You can see into the McDonalds drive thru from in the studio. And Rodney Mills? Yeah, I know him. How could I work where I do and not know him. I also know the people at Big Zak, Red Zone, The Outfit (T.I.'s old studio). I work there. That's why you pay people like me. Cause I know how to do what you don't. Throw all the big names you want. I've been side by side with Juvenile, Akon, who ever. I don't care. DJ Red Dredd from Hot 107.9 is my boy. I hang out with Sunny V. Man, is mad cool. So is Andre 3000, so what? You got any more names to throw at me. And they all remember me too, you know why? Cause I'm the coolest white boy in there and I know my SH!T, and I don't hug their nuts.

The 4040, again, it's really that boomy of a mic. It has a slight bump in the lower mid-range but any mic can be boomy with out the proper room and bad monitoring environment. That's why every mic, even the c414 comes with a low end roll off and it's one of the least boomy and crisp large diaphragm mics. So does every mic pre.

The fact is I called you out on something you know nothing about and I don't know if your pride is hurt or what but don't try to save face with me by mentioning a bunch of names. It doesn't impress me.

No hard feelings, just own up when you make a mistake. Everyone does it. Especially early on. I really don't believe you have been doing this seriously for anything close to 10 years.
 
If it's boomy, in all likelihood this is due to proximity effect, which harks back to good mic technique, for which there is no substitute.
 
Kevin Brown said:
SM7 is the ONLY mic I use for male rap artists...
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I have one and I love it. But sometime I still like to use condenser mics. I use it on raw aggressive vocals, but sometimes the track calls for something different. I mean, there really isn't any denying a c414 , Bock Audio or U87 when you stick it in the booth. There are better mics but those still sound undeniable.

But a SM7b will def get you by until you can get a more expensive mic. As long as you have the gain on your mic pre to push the SM7b, get one. For $250 they are great for rap vox.

It's good to have many good mics so you can pick and choose.
 
Morning_Star said:
I have one and I love it. But sometime I still like to use condenser mics. I use it on raw aggressive vocals, but sometimes the track calls for something different. I mean, there really isn't any denying a c414 , Bock Audio or U87 when you stick it in the booth. There are better mics but those still sound undeniable.

But a SM7b will def get you by until you can get a more expensive mic. As long as you have the gain on your mic pre to push the SM7b, get one. For $250 they are great for rap vox.

It's good to have many good mics so you can pick and choose.
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yeah, that Mbox isnt going to have the gain for the SM7 to really shine. I use it for bass and guitar amps too. Good all-around mic for guys on a budget...
 
Obitheincredible said:
I like the heil pro pr 40 a bit more than the sm 7b. And I also like the 414 myself
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I like the Heil products as well. A little more high end and crispy sounding.
 
This is for Morning Star....I understand. You may know more about mastering then I do...Point taken. You may know more about mics and etc. I would actually like to meet up in ATL and shoot the ****. You may find that I know more then you think. Your right **** who you know its what you know. I am white too. I get the same respect as ou do among prior clients, I mainly make beats and track vocals. Like I said I would rather pay someone like you to mix and master what I am good at. No beef. You are right...AKG has never made ribbon mics. I was actualy referring to the higher end being tube mics. Rhode, Nady, and Cad are the ones with ribbons. It is an old technology, but still sounds good if you know how to use them. Lets get up sometime, we could share trade secrets. 1ne Love homie
 
C.U.R.S.E. Life Ent said:
I was actualy referring to the higher end being tube mics.
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tube mics are not "higher end" than solid state mics.




C.U.R.S.E. Life Ent said:
Rhode, Nady, and Cad are the ones with ribbons.
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Rode does not make ribbon mics




C.U.R.S.E. Life Ent said:
It is an old technology, but still sounds good if you know how to use them.
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actually, *all* mic technology is old... and a quality ribbon mic is just as good as (if not better than) a quality condenser mic or a quality dynamic mic.
 
Whatever yo. High end tube mics sound better then AKG condensers. Period. Am I lying about that???
 
C.U.R.S.E. Life Ent said:
Whatever yo. High end tube mics sound better then AKG condensers. Period. Am I lying about that???
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You say this as if AKG never made the C12... Which is a high end tube mic... Also as if a mic with a tube could not be a condenser at the same time.???
 
Yeah, All of AKG's higher end mics are tube condenser. It's all good. There are plenty people here that know their stuff. You just have to be careful when telling someone stuff cause we all hate getting bad info. We have one of the high end AKG's at the Outfit. Nothing but trouble. It's old so it's always got an issue.

Personally I like solid state mics, i.e. AKG c414, Neumann U87ai, and the Bock Audio 195, three of the best sounding mics in my opinion. I love them, and the last too are very warm to me and they have no tube. In fact some of the warmest sounding gear is not tube. Great tube gear just has a really nice clean sheen to it.

Tube technology is about pleasing harmonic sounds and clean topology to give a very clean but pleasing and musical sound. I like the gritty flavor and warmness of solidstate gear. That's why the Neve 1073 is one of the most famous mic pre/eq and it's not tube either.

The LA-2A is tube gear, but it's appeal is the smooth t4's used in the compression circuit.

Tubetech on the other hand is probably some of the best sounding gear on the planet and it's all tube. When I really started getting into studios for work I realized Tubetech was like the unknown secret to the prosumers of audio gear.
 
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Tube stuff always sounded a bit more "gritty" to me.....and "warm" like everyone says.....

I agree though...Tubetech is the secret...it's in every MAJOR studio I've been in or seen...
 
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