Rode K2 as a main vocal mic?

[Badside]

What I do is record young bands from the area to help them put out a decent demo easily.

I don't really have a vocal mic right now. I have the usual SM57, SM58, a pair of Kel HM1 (SDC) and a MD421.

Each of them can sometimes be a good fit, but I want to invest in a nice mic that I can use for vocals 80% of the time and not have to make excuses.

For now, preamps are Mackie Onyx 400F (which still find new ways to amaze me every time I have to endure something recorded through another prosumer unit)

 

What I'm missing is mostly a warm mic (the Kels are thin, the MD421 too edgy). So a tube mic is definitely interesting.

 

Kinda leaning towards the Rode K2 right now, seems like a really nice unit.

And I figure it would do wonders on acoustic guitars and as a drum room mic. Maybe the occasionnal guitar cab.... (162dB max SPL).

 

Any thoughts?

Other recommendations?

[MrJoshua]

I haven't used the K2, but "warm" isn't a word I've heard used to describe many Rode microphones. But that's just hearsay, having not used it myself. :shrug: The Shure SM-7b is recommended fairly often around here, but again, I haven't used it personally. Right now my vocal mic of choice is a BLUE Baby Bottle, but "warm" isn't really the word I'd go to if I was describing it.

[CenterStaqeSilv]

I use a Rode NTK, which I think is quite similar to the K2. The NTK has a very clear, very natural sound (lack of coloration), extreme dynamic range with extreme quietness. Comes with an excellent preamp from Rode.

 

I've recorded voice, acoustic guitar and other instruments through it, and they all sound natural and highly detailed. You of course have to experiment with placement for each instrument, such as with acoustic guitar vs a tin whistle or percussive chimes, but that's normal with all mics.

 

Rode's popularity comes from quality. I'm not experienced in using the most expensive Neuman mics available, but at some point, it's not the mic that needs improving, but the mic placement, performance and handling of the signal after the mic captures it. Can't go wrong with Rode.

[UstadKhanAli]

The Rode K2 is probably a good sounding microphone. Like a lot of Rode stuff, it probably has a very airy top end, but if it's still good and full on other parts of the frequency spectrum, that can be a useful thing.

 

There's a microphone that is reviewed in the current issue of Mix Magazine that just got a RAVE review. I mean a RAVE review. It's (I think) called the new Studio Projects T3. The reviewer said something to the effect of, "Does it sound like a C-12? Well, no, not really, in most applications, it sounds BETTER."

 

And it's $600 street.

 

I know absolutely nothing about this mic, but when a mic gets THIS good of a review, it naturally immediately piques my curiosity.

[Dryskin]

 

It's (I think) called the new Studio Projects T3. And it's $600 street.

 

 

You mean this?

 

 

http://www.8thstreet.com/product.asp?ProductCode=10526&Category=Microphones

[Lee Knight]

The T3 just got a great review in the new Mix. It's making me GAS.

 

But... you say warm. Do you really mean not harsh? The reason I ask is you're recording young bands. I would think there are times when you have to really figure out how you're going to tame the hash from a younger inexperienced singer...

 

So I like the RE-20 for this. It never gets harsh. It's not "warm" but it really does sound great on a more strident singer. The SM7 has the same effect.

[UstadKhanAli]

Both those mics are really good mics for vocals, and are often characterized as "smooth". Anthony Keidis always uses an SM7 for his vocals.

[Badside]

How does the SM7b compare to the MD421?

I've been looking at the SM7b for quite some time, but I've always seen it as similar to the 421: two LD dynamic mics intended for broadcast use.

So I figured I'd go with something completely different so I have more options...

Besides, what kind of studio doesn't even have 1 decent LDC?

I do mostly hard rock with male vocalists, and the 421 keeps impressing me. It's got attitude, it sounds much wider than the SM57. Smooth or warm is not what I'd call it though. I don't know if I could live without this mic, works great on kick, tom, guitar cab, vocals, brass, you name it.

Then there is the occasionnal slower song, where I want a more intimate sound, or the singer who's more into singing than screaming and wish for more presence and sparkle...

A SM7b is definitely something I want in my arsenal, but logic seems to tell me I need a decent LDC first.

However, some threads I've read pretty much said: if you're gonna invest less than 2000$ on a LDC, get a really good dynamic instead (with of course the SM7b always being the recommended dynamic...)

[UstadKhanAli]

 

You mean this? http://www.8thstreet.com/product.asp?ProductCode=10526&Category=Microphones

 

 

Well, I'm not sure...the review said that the Studio Projects line was revamped or retooled.

 

http://www.studioprojectsusa.com/t3.html is it. You'll notice that this is multi-pattern, for one thing, and also looks slightly different. I haven't compared the specs yet, as I'm at work...

[UstadKhanAli]

The T3 just got a great review in the new Mix. It's making me GAS.

 

Seriously.

 

I don't even NEED a mic...

 

But in yet...

 

[Dexter Frank Jr]

I do have a K2 and have used it for well over a year now.

It's a very good mid-level tube mic. As mention it can cope with 160+db so it's quite usable on many sources. In my experience it works well on both vocals and acoustic gtrs. It also works fine with loud amps, and I have also used it with succes on snare drum

 

It can also be perceived as a bit "warmer" (f**k I hate those goddam buzzwords) than teh NTK as in less harsh upper mids. I find the K2 to be a bit more "neutral" in that sense.

 

Also a big plus is the variable pattern, which makes it very suitable as a room mic.

[scapier]

I'm biased because I sell them on the side, but the K2 is silky on top and very open. I think it's a good all rounder. I have a mic with a c12 type sound at home and while it's great, I'd like to have the K2 in the closet for the other side of the pallette. Build quality is great too, with a very sturdy shock mount.

 

Spencer

[Badside]

Thanks Dexter and Scapier!

The local Rode dealer also offer rentals, but they don't have the K2 on rental, only the NTK.

I wonder if it's worth a shot to rent the NTK for a week to give me an idea of how it sounds...

From what I can gather, they are very similar, but the NTK is a bit more sensible to sibilence.

Supposedly a tube swap can make the NTK smoother... and it's quite cheap too.

 

Is it true that Rode mics are made in Autralia?

I'm trying to avoid chinese built stuff... our dependency to that country is scaring me...

 

What about SE and GT mics?

[Lee Knight]

Something else to check out...

 

I got a CAD Trion 8000 a few months back that is proving to be very useful. It's a tube, multi pattern LDC. It sounds great and really beefs up thin singers. It's very sensitive to distance and proximity effect so you really have to lock in your vocalist's position. I ended up taking my pop filter off of the same mic stand and putting on a 2nd stand. Finding the spot then saying... "Put you mouth right up to the pop screen". This is working great. I just move the screen in or out depending on the tune...

 

Anyway, check the Trion if you get a chance.

[D Charles]

I haven't used the K2 but I've read some reviews where people are dissapointed in it. They say bring back the NTV which I have used and it's a fabulous mic. On the other hand, I don't think I've ever read a bad review on the NTK. I've even heard people say that if you roll off some highs on the NTK, then you've got the K2 without the patterns.

 

As far as your Chinese question, Rode is making all their new mics now in Australia, starting with the K2 and it's non tube counterpart I believe. Pretty sure the NTK at least has parts from China.

 

Actually I'm way more worried about the stuff in our food and our pet's food that comes from there.

[Badside]

 

I haven't used the K2 but I've read some reviews where people are dissapointed in it. They say bring back the NTV which I have used and it's a fabulous mic. On the other hand, I don't think I've ever read a bad review on the NTK. I've even heard people say that if you roll off some highs on the NTK, then you've got the K2 without the patterns.

 

 

You are referring to that one review on HC right?

There are much more positive reviews than negative ones though.

Those who don't like it seem to find it too smooth on the top end. I'm not looking for a bright mic. I don't like hyped highs.

 

Supposedly, the diaphragm is an updated design on the K2, so it's not just a NTK with patterns... Guess I'd have to find a way of comparing them.

The NTK is cheap enough that it can't really be a bad purchase...

 

I want smoothness, but openness too.

[D Charles]

Yeah, there and I've read it somewhere else as well. The K2 doesn't have the hyped high end like the NTK I expect, plus it's made in Australia so it might be a good fit for you. If you get one, let us know what you think.

 

Oh, and also check out bpmmusic.com for prices. At least they used to smoke everyone on Rode pricing. I've got a best bud that tried a bunch of different Rodes and sold the ones he didn't like on ebay for what he paid for them or better cause he bought from these guys.

[Paully]

I've been using a K2 off and on for a couple of years now, and must say it's a very smooth sounding mic as opposed to other mics with over-aired, souped up high frequency response. I really like it for VO work with one minor caveat. It becomes really boomy when the vocalist gets too close.. more so than other mics. I sometimes end up using a couple of pop filters. Other than that, if you look at the frequency response chart, it looks(and acts) like Lake Placid. No peaks or nulls. For me that works.

 

As for warmth , Tony Bennett would sound warm on a 57. Axel Rose... ehh, not so much on any mic . Hard to qualify unless you do a direct comparison to another mic. Put a K2 next to an AT4050. They cost about the same, and both will sound great, just in different ways.

 

Best, Paul

[Badside]

Well... my band just won free studio time in a studio that has a NTK... looks like I'll get to try it for free

[gtrbass]

FYI - The NTK is a bit more harsh in the upper mids than the K2. Both mics benefit highly from a replacement of the stock 6072 tube. I used an E-H gold series on my K2 and it added a nice dimension... more low end, silkier top end. The K2 is sort of like a Neumann U67-ish kind of flavor. (No, I know it doesn't sound just like it for you purists out there.) Very nice mic for many sources.

 

The SM7b is a great dynamic vocal mic for rock vocals. A different flavor altogether, and useful. I'm curious about the new SP T3.

[alphajerk]

i cant imagine having a single vocal mic. i have used everything from el cheapo 57's to ribbons to high end condensors... it all depends on the singer and the sound you are going for and how it will sit in the mix.

[Badside]

 

i cant imagine having a single vocal mic. i have used everything from el cheapo 57's to ribbons to high end condensors... it all depends on the singer and the sound you are going for and how it will sit in the mix.

 

 

I do this mostly to help young bands with no budget. So when your rates are "whatever you have is what it'll cost", you can't afford to have a whole palette of mics.

 

So I want something that will be as versatile as possible, yet cover grounds my current collection (57/58, 421, pair of KEL HM1 SDC) cannot.

 

Of course, when working with a band with a bit more budget, I rent!

But I want to buy more stuff, on a longer term, it pays itself back.

[alphajerk]

well, you need a LDC in there somewhere... there are a LOAD of them out there to buy. and you have no ribbons and mention "warm".... there are a ton of those out there cheap.

[Badside]

 

well, you need a LDC in there somewhere... there are a LOAD of them out there to buy. and you have no ribbons and mention "warm".... there are a ton of those out there cheap.

 

 

Yeah exactly, I don't have a single LDC right now. Have to rent when the job calls for it.

 

Seems to me a very decent one (let's call it a 2nd tier model) would be much better than a handful of chinese 99$ wonders.

 

I'm curious about Groove Tube mics...

[alphajerk]

sure, GAS if you want... but dont believe most of what you read, especially considering what you said "What I do is record young bands from the area to help them put out a decent demo easily."

 

shit, i have done that with a clip of 57's and a 4 track back in the day. what you are talking about in minutae compared to learning what to use where and why, and how to get it to do what you want it to do.

 

you want a nice LDC, get a gefell m295. those sound beautiful.... or a buttload other LDC's. i have a bunch of mics [though could always use more ], none work as a "main" vox mic. hell, i have them sing into the silliest of things sometimes [headphones, megaphones, guitar pickups, house alarm speakers, etc]. i have made a 4033 work, and i actually like that mic. its fucking butt cheap, lots of people hate it... but it can sound wicked in the right spot.

 

so you obsess over this one mic here... then you get it, you will want something else as well. they are all just paintbrushes for your imagination. the trick is just getting diversity so you have options. the LDC doesnt work because he sounds like a south beach drag queen with a sibilant lisp the LDC freaks over? dogs start howling on your block? throw a ribbon up. de-essers only save you so much.

 

the reason why most LDC's can sound "harsh" [until you pay the big bucks] isnt because they are made in china, but because of their capsule design and in your case, the tube. HF is a bitch on such a large surface. of course the bottom can be HUGE. and cheap tubes can be plain noisy and unmusical.

 

so maybe use that grit to your advantage and pull it out more with some HEAVY compression/distortion. or tame it back with a bit of EQ. tubes wont automatically make it "warm" either. i have a U99 that isnt "warm", not compared to a ribbon. its pretty detailed. it sounds like its attached to my vocal chords when i listen to myself on it. of couse the biggest factor in a tube mic i have found in terms of the sound is the tube itself. changing out the tubes for better ones on cheaper mics is a quick and easy upgrade to them and gets rid of a lot of their "problems".

 

you are talking about making good sounding demos for bands. i applaude you for that, seriously. i was once you, hell still am sometimes, though usually saving the tracking doing mixing duties. and i know how it is to want to learn about a mic before plunking down the money. i usually play with mics and if i like them, i buy them. its like... when you listen to the mic, do you get ideas for using said mic?

 

i have bought the most bizarre mics because i heard something in them.... nothing that anybody commenting on it would ever have exposed for the mic.

 

anyway, good luck with your hunt. sorry i cant tell you about the K2.