I have two AT 2020s in my closet. I use them as a stereo pair on acoustic instruments, or as overheads/room mics. They work great for anything that doesn't require a lot of bass presence. I got them when they were selling at $200, so at $99 they're a steal. They're also pretty durable, as one of mine has taken a few hard spills and still works fine.
Otherwise, AKG is the only other brand I'd even consider on that list.
Had I seen this before the SP-B1 was ordered I may have gone with the AKG because I was leaning towards it from reviews I read and I've liked AKG merch in the past. But in all honesty, all the mics in my list seem to be SO close in comparison and I've heard the results of the SP-B1 here at SF, so it seemed like the right choice. Besides, it's only a $100 bux.
What's wrong with those? They were My First Condenser and I liked them a lot. I don't use them for vocals anymore, though (I use v63Ms mostly) but they're great for micing amps and instruments.
Billy's Little Trip wrote:After looking at the reviews, they talk about the new designed B1 v2 which has a few changes.
I have that version. I use the pad switch almost all the time; them condensers are pretty damn sensitive. Anyway, a simple low-pass filter fixes the essiness but it also makes the signal sound pretty muffled. I've tried it.
Billy's Little Trip wrote:After looking at the reviews, they talk about the new designed B1 v2 which has a few changes.
I have that version. I use the pad switch almost all the time; them condensers are pretty damn sensitive. Anyway, a simple low-pass filter fixes the essiness but it also makes the signal sound pretty muffled. I've tried it.
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Or if you really must save an existing recording, just use a parametric EQ and a spectrum analyzer. Just use the parametric EQ to reduce ONLY the hundred Hz or so around the peak of where sibilance shows up. Never categorically low-pass the entire signal, because that's what causes the muddiness.
(Mic position is the better approach though, yes.)
If the sibilance wasn't all over the spectrum, that'd be great, but it is. I can't really find any particular frequency that fixes things if cut away, automated over time or not.
Changing mic positioning is great advice and all, too, but I get the impression that if I move away from the mic too much, the low end almost disappears completely (I haven't really rigorously tested this, though, it's just one of them subjective experience thingies). Turning slightly sideways by itself is standard practice for me... not that it changes anything except my worries about how much explosive breath will go straight through the pop filter.
I didn't read the thread so I don't know if you got one, but I bought a blue snowball from the internet for about 100 bucks that is USB connected and doesn't need a pre amp. It's very good and has multiple settings for acoustic recordings ect and it's not a lot to spend for the quality. If not that, I'd go for anything in the blue mic line.
So, I got my new SP B1 condenser mic. Looks great, but I haven't tried it yet. I also got a set (A,C,D,G) of Hohner harmonicas in a nice case. So I'm afraid you guys will be subjected to some blues harp in some up coming songs, lol.
Billy's Little Trip wrote:So, I got my new SP B1 condenser mic. Looks great, but I haven't tried it yet. I also got a set (A,C,D,G) of Hohner harmonicas in a nice case. So I'm afraid you guys will be subjected to some blues harp in some up coming songs, lol.
Nice. What model are the harps? Good set of keys to get.
I can't wait to hear some condenserified BLT, man.
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Billy's Little Trip wrote:So, I got my new SP B1 condenser mic. Looks great, but I haven't tried it yet. I also got a set (A,C,D,G) of Hohner harmonicas in a nice case. So I'm afraid you guys will be subjected to some blues harp in some up coming songs, lol.
Nice. What model are the harps? Good set of keys to get.
I can't wait to hear some condenserified BLT, man.
Hohner - Blues Rockers.
I've already been playing my acoustic guitar with my harps in my head gear all Niel Young style. But I started playing with some tuning and slide guitar and came up with a couple sweet riffs, lol. Maybe if the right title hits, I'll build around a riff and make a song for a fight.
Sorry to bring back an old thread. Quick question, does my condenser mic SP-B1 need an XLR mic cable to work? I finally got around to recording with it and it didn't work with my 1/4" mic cables.
My FireBox has the 48v phantom power for condenser mics, so that shouldn't be a problem, right?
Phantom power doesn't work with mono 1/4" cables (and I highly doubt anyone ever standardized the abuse of stereo 1/4" cables for transmitting phantom power), so yes, you need an XLR cable.
I think 1/4" TRS cables are standardized for phantom power, but yeah generally it's safer/easier to just use an XLR cable. You really should have XLR cables already anyway, even for non-phantom-powered devices, especially if you're doing long runs of cables (so for example, if you're on stage, all your 1/4" stuff should have a short 1/4" run to a DI box which then gets its long run to the amp via XLR). There's a lot of mythology around this, though, and I've seen compelling arguments both ways.
I've never had problems with my 1/4" cables and I have miles of them, so I never had a need to go to XLR cables. So now I do, yay.
Also, every time I see ads with my FireBox, the package looks like it comes with those metal clip thingies for XLR. Mine didn't come with them, but the mic INs are XLR or 1/4". Do the XLR cables come with that clip, or is it a separately sold item?
Assuming you mean the 'push' thing to release the cable, that's part of the jack (I guess) but all of my cables use a pushbutton on the side instead, which seems much more robust.
