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  1. This is a pristine condition Beyer M260 ribbon mic. I purchased it new in the mid 70's and two years ago Beyer completely rebuilt the mic. It does not contain the high pass filter that the newer M260's have so it's a full range extended low end mic. I used it on sax, guitar cabs, and acoustic instruments. $275.
  2. Interesting thread. I just bought a pair of Pulse 15 boxes for $75 each..One had no woofer and the other had an Eminence Beta 15 in it. I sold the Beta for $50. I am going to rebuild the cabinets. Put a couple Eminence Kappa Pro 15's or Black Widow's, new crossovers and I have taken out the high frequency radiators and am putting 6 X 15 horns in them with drivers I haven't decided on yet. The are well built cabinets and not too heavy so it should be interesting how they sound when completed. The boxes are bigger and a lot deeper than my Peavey SP5's or Yamaha S115's.
  3. You can buy a brand new CAD M179 LD mic within your budget. I believe it is a mic that sounds great on just about everything you put in front of it and will be useful in the future as you grow. They are selling for under $200. The AT 2020 also gets good reviews and is a sub $100 LD mic.
  4. Yeah.. there are some really great deals on gear floating around out there right now.. I just bought myself a Soundcraft 328 digital mixer in pristine condition for under a grand and picked up a Mackie Big Knob for $100 in the meantime. Guys are struggling and getting rid of their gear, which is very cool for those of us lusting for gear.. It's like real estate.. If you are a qualified buyer times couldn't be better right now. And I filled up my van today for UNDER $30!!! $1.85 a gallon.. Christmas is here early..
  5. I use 24/48 just because I was used to doing it that way with my ADAT machine transfers to the computer.. I have always stayed at 48K. The very last thing I do to a file is convert the sample rate to 44.1/16.
  6. I would say that's not really true or at least not totally accurate. Omni mics can be placed much closer to the source than directional mics and if you get in close then the room of course matters much less, so don't discount using omni mics just because your room isn't great. Marketing and live sound reinforcement have pushed directional mics heavily and scared many people away from omni mics. When recording at a distance like when recording classical music directional mics can sometimes be a better choice in a not so great room but for something like close up recording of an acoustic guitar don't fear the omni pattern as it can often be a wonderful tool. I was more referring to any other instruments in the room at the same time.. but I was not clear. I was thinking if the recording was done in a group environment, an omni can pick up too much bleed.. Plus..air conditioning hum, etc..in a less than desirable room. But you are correct. Those little Niant omni mics sound great on acoustic instruments. I have mounted mine to an acoustic bass, tried it on violin and mandolin and had great results. Amazing for under forty bucks.
  7. If you want to try something neat and inexpensive, try a Naint X-Q omni condenser for $39. I tried mine on a Martin dreadnaught just for giggles and was quite surprised at how natural the mic sounded. Of course, being an omni you need a good room.. But it sounded better than my Oktava MK-012, Shure SM81, CAD CM17's or the lone MXL 991 I can't understand why I haven't thrown away yet...
  8. Actually an SM 57 would be a good mic for you. You might also want to check out Global Audio GLS 57 mics, which are very inexpensive clones of the 57..they sell for $30 each and make good instrument and vocal mics. I bought a couple on a whim and they work pretty darn well. A 57 can make a decent vocal mic too.. I would suggest buying a CAD M177 LD mic ($80) and a GLS 57 ($30) and you can record just about anything you do for under $115.
  9. I just picked up a pair of Naiant small condenser mics for a client. Unbelievable.. And they cost $22 each. I tried them out in the studio as overheads, on acoustic guitar, both a Martin and a Taylor and was really impressed. They sounded better than my Octava MC-012 and Shure SM81's.. Did I mention they are $22 each? They are omni's and way cool.
  10. I think Terry is correct. And in my mind the fact the public is used to the volume of the music is more and more of a problem, and has spilled over to live music. Live music systems have gotten progressively bigger and louder in order to recreate the music with the same volume and punch folks are used to hearing on the radio and in their headphones. After a while everything just sounds.....loud. Detail and dynamics are going away fast.
  11. Does anyone notice that modern music has the staying power of a manure gnat today? I listen to modern rock and roll and even though I sound like my dad, it all sounds the same. And checking the wave forms of some of the tunes explains why... 2 X 4 music.
  12. The only problem I can see is with the weight of the mic and the boom extended tipping the truck over. I would think it wouldn't require a lot of effort to take off all the body work and glue on some lead counter weights to get the center of gravity lower. But my first and most urgent thought was....Hmmmm...what an interesting thought process..who'd a thunk it.
  13. Thank you for your help. Unfortunately I don't know how to pan the left or right in mono. The best I could do is record a track in mono, then bounce it to stereo, then bring up the left or right volume (while turning the other down), and then bouncing that back to mono. That's all I really know how to do. I just started recording, so this is new to me. I am now starting to record vocals- which is probably going to get even harder. Thanks for your help You should have a "pan" control in just about any recording program or recorder. What are you using? As has been said, most sources such as guitar, vocals, bass, etc. are mono sources and should be recorded in mono and panned for effect. I record keyboards as two mono sources since when I record a stereo track, I can't pan either side, only the track. But, you should not be turning your speakers up and down to achieve stereo balance, it should be done in your recording program or mixer or stand alone unit. First thing would be to read how to use your equipment instead of asking how to work around something that is normally basic recording functions.
  14. That's always looke like an interesting mic to me, too, though I've never used one. I have one of CAD's older (and then-considerably more expensive) mics, an Equitek II -- also a dual diaphragm multi-pattern and, indeed, it is a very flat, accurate seeming mic. I used to use it on everything from classical guitar to voiceovers. (I had a radio journalist client who loved it.) I have and use AT 40407/4050 and Rode NT2 mics. I have also compared my M179 to AKG C3000B and Shure KSM 32's at live events. The CAD holds it's own against all of them. I think for the money it is an incredible mic. Currently I am recording all my band rehearsals with the M179 set on wide cardioid in a corner of the room and we sound like the old early Ray Charles sessions. Pretty cool mic..again, for the bucks.
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