A good Mic to go with my VT-2

[ROCKER STUDIOS]

Looking for a great Mic for Male Rock Vocals and Acoustic guitar to go with my
DW Fearn VT-2 If poss. to keep it in the $800-1200 range Adam I know your Rocken the Fearn what do ya think

[Mixwell]

Looking for a great Mic for Male Rock Vocals and Acoustic guitar to go with my
DW Fearn VT-2 If poss. to keep it in the $800-1200 range Adam I know your Rocken the Fearn what do ya think

Hey Rick,

Your question is a loaded one.

The REAL answer, is that ANY and ALL microphones, sound good THRU Fearn Amps. This is why they are highly recommended.

There are SO MANY UNDENIABLY RIGHTEOUS MICROPHONES out there. Your gonna have to get more specific about the SONIC RESULT you REALLY want, and of course your budget as well.

FWIW: I am currently saving my Mercenary Paycheck's for;

A Josephson C700A and a Horch RM2J, and finally an AEA 44CX, to go along with my VT2, and of things that I will never sell once I acquire.

Of course, those are three COMPLETELY different sounding microphones. Our TELE C12 sounds unbelievable though this amp. That is probably a pinnacle path for most things @ the studio in my experience. I LOVE the AEA stuff though the FEARN, since it's like a Time Machine to an Old RCA studio, but with modern specifications. AEA now makes a less expensive 44CE version, of their lauded 44, which would be a seriously cool addition for vocals/drums/acoustic/anything that you want "classic" ribbon warmth and inviting tone. There is also the AEA A840, which I have been enjoying very much. You also cannot go wrong with anything MTG produces. I'd suggest reading up on the UM70S/MV692, which is awesome workhorse of a microphone. You might also consider the Josephson C715, and the C720 demo we are offering on the demo page.

[Dan]

You've got a $3800 preamp, but you're trying to keep your mic budget < $1200? :confused:

-Dan.

[ROCKER STUDIOS]

You've got a $3800 preamp, but you're trying to keep your mic budget < $1200? :confused:

-Dan. Don't be confused even an sm57 sounds good threw the fearn
but I get your point. Im just in debt for a lot of gear I already bout and need a Quick fix. Tired of paying off shit an no new toys was going to try to budget in a Mic fix . Maybe I should wait:( .

[ROCKER STUDIOS]

Hey Rick,

Your question is a loaded one.

The REAL answer, is that ANY and ALL microphones, sound good THRU Fearn Amps. This is why they are highly recommended.

There are SO MANY UNDENIABLY RIGHTEOUS MICROPHONES out there. Your gonna have to get more specific about the SONIC RESULT you REALLY want, and of course your budget as well.

FWIW: I am currently saving my Mercenary Paycheck's for;

A Josephson C700A and a Horch RM2J, and finally an AEA 44CX, to go along with my VT2, and of things that I will never sell once I acquire.

Of course, those are three COMPLETELY different sounding microphones. Our TELE C12 sounds unbelievable though this amp. That is probably a pinnacle path for most things @ the studio in my experience. I LOVE the AEA stuff though the FEARN, since it's like a Time Machine to an Old RCA studio, but with modern specifications. AEA now makes a less expensive 44CE version, of their lauded 44, which would be a seriously cool addition for vocals/drums/acoustic/anything that you want "classic" ribbon warmth and inviting tone. There is also the AEA A840, which I have been enjoying very much. You also cannot go wrong with anything MTG produces. I'd suggest reading up on the UM70S/MV692, which is awesome workhorse of a microphone. You might also consider the Josephson C715, and the C720 demo we are offering on the demo page. Kool Ill look into some of those Did have my eye on the AEA already and Like I said I was trying to stay around $1,000 and I like big airy sounding Mics that fill the room so I can crush them with compression(Just Kidding,Kinda) :D

[Tomasz]

need a Quick fix. Maybe I should wait:( .
need a Quick fix. Maybe I should wait:( .
need a Quick fix. Maybe I should wait:( .

I bet this is what it sounds like in your head bro...:D
Make an educated decision.. I ain't rockin' the fearn, so I cannot really say.

[Mixwell]

Rick

I read a post from Larry DeVivo the other day I thought was useful;

I use certain pre-amps with certain microphones like I use different camera lens for different shots.

And I think it makes perfect sense, but the name of the game is the transducer in front of your source. You can't make a ____ sound like a _____ through any Preamp no matter how hard you try. So, the theme is kind of the other way around. You have the preamplifier as a result of your source and transducer.

Your sound is only as _____ as the first instance of it.

I think you buy microphones for what they do, and having a LUXURY and HUGE sounding preamplifier like the FEARN, means you are simply making the MOST of ANYTHING you patch into it, and then some. So, the real reason products like this exist [microphone preamps] is BECAUSE of MICROPHONES, which NEED to be HEARD as ____ as possible when they are patched. You gotta ask yourself, "what do I want to hear", and I venture you'll find a great microphone within your budget that will fit the aesthetic of the projects you work on.

[Tomasz]

Rick.. not that I could help with your decision, but it might be useful for those in the position to help you, to know what mics you already have lurking in your mic locker. This may help them give you some "complimentary" suggestions.
just a thought..

[ROCKER STUDIOS]

Yo Adam
I was looking at the Fearn manual and I read "dont use a patch bay Between the Mic and the Fearn Witch Im doing Whats up with that??
THANKS Rick

[Mixwell]

Rick, do you mean, in the "suggestions" section?



SUGGESTIONS:
You have chosen to use the VT-2 because of the superior sound it provides.

To gain the maximum benefit from your investment, it is important that you hook up the VT-2 so that other factors do not adversely affect the sound quality.

1. The VT-2 can be located in the studio or in the control room, but use the shortest possible cable between the mic and the VT-2.

2. Use the best quality mic cable you can. We don’t believe you have to use esoteric wire, but do use a good cable designed for low impedance microphones. A quality cable with gold-contact connectors is best.

3. There should be no additional cables, connectors, junction boxes, patch jacks, etc. between the mic and the VT-2 input

Rick, from our live room; we have a XLR Female input tie panel, feeding over 200 feet of REDCO XLR wire to another XLR Male output panel. We directly wired all the microphone preamplifier inputs to another XLR Input bay in the control room, with another, oh, 30-40 feet of wire to all the amps, and then from the Line output of the preamplifier devices, BACK to the patch bay, doing another 30-40 feet of wire here. Then I take some patch leads and patch it into the AD converters, or other analog stuff and then into the AD converters, which have about 50-60 to feet of wire to the recorder and back. Jeez, Its puzzling to think I am even hearing what I paid for, but damn this thing sounds good.

[ROCKER STUDIOS]

Kool you the Man thats some good shit Im a Hands on kinda Guy but some time Manuals
get the best of me or at lease make me ask questions I mean it is Doug Fearn for god sakes but THANK you I feel better about my small ass Studio

[moose]

Rick, from our live room; we have a XLR Female input tie panel, feeding over 200 feet of REDCO XLR wire to another XLR Male output panel. We directly wired all the microphone preamplifier inputs to another XLR Input bay in the control room, with another, oh, 30-40 feet of wire to all the amps, and then from the Line output of the preamplifier devices, BACK to the patch bay, doing another 30-40 feet of wire here. Then I take some patch leads and patch it into the AD converters, or other analog stuff and then into the AD converters, which have about 50-60 to feet of wire to the recorder and back. Jeez, Its puzzling to think I am even hearing what I paid for, but damn this thing sounds good.

Its amazing to think that sound can travel all that length with no real ill-effects to time or phase, but as soon as a plug-in gets inserted everything goes to shit.

[Mixwell]

Of course it suffers, but How much???? And can you hear it, is the question. If any distance of analog wire stops you from making a great recording with Fearn gear......

THEN YOU SUCK

I think Doug is just watching out for his gear, in any event with these suggestions. He is also a Location Engineer by trade, which I suppose brings out the "purist" in him. Surely, STRAIGHT from the microphone - using high quality wire - to the VT2 will yield a result of its own, and passing it through 1,000 feet of wire will have a result of its own. The physics of the dance say so. All I know, is that it speaks largely for him when I patch a microphone though all that wire and then utter the words "h-o-l-y-s-h-i-t" 400 times before I hit record.

[Tomasz]

Its amazing to think that sound can travel all that length with no real ill-effects to time or phase, but as soon as a plug-in gets inserted everything goes to shit.

Cartoons always made me late for school, so I guess it makes sense!:D