Dave Modisette
Max Output Level: 0 dBFS
- Total Posts : 11050
- Joined: 2003/11/13 22:12:55
- Location: Brandon, Florida
- Status: offline
TLM 102
Here's my mic collection; Audio Technica 4033, Condenser Mic Groove Tubes GT-66 Tube Condenser , Audix D2 (3), Audix D6, AKG C1000S Condenser (2), Shure SM 57 (2), Studio Projects C1 Condenser , CAD E-100 , Sennheiser ME40 , Sennheiser MD421 U5 , MXL 603 , Cascade Fathead Ribbon Mic I'm wondering if the TLM 102 would be a good fit in this collection or would it be more or less an overlap of the GT66 or AT4033? I would think that the AT4033 and the SP C1 would be closer to a TLM 103 sound from what I gather on the Internet reviews. The CAD E100, Cascade Fathead and the GT66 might be closer to the TLM102 which is supposed to have a warm sound with some air.
post edited by Mod Bod - 2012/06/06 13:18:56
|
Gaffpro
Max Output Level: -75 dBFS
- Total Posts : 792
- Joined: 2004/05/10 03:42:07
- Location: Palm City, FL. / Nashville, TN.
- Status: offline
Dave: I don't think the 102 would be an overlap, especially with the AT 4033.
I have a TLM 103 which I bought when they first came out....when I got a U87, I stopped using the 103 (which I still think is a great mike for the $). The 102 is definitely darker than the other TLM series mikes.
How do you like the MXL 603?
I just picked up an AKG 214 and plan on trying it out on acoustic guitar
Dell Studio XPS intel i7860, 8 gigs dual ram, Sonar X2 (x64), Windows 7 RME UCX Yamaha NS10, Equator D5, JBL LSR 2325 monitors Vintech X73i, Great River ME-1NV, Joe Meek VC3Q preamps RNC 1773, DBX 163x, Joe Meek VC3Q compressors DBX 263x deesser Neumann U87, TLM 103, AKG 214, CAD E100s Peluso 2247SE AT4050 and 4051 Shure KSM27, SM7, SM57, and UnidyneIII (from the 60's) Other assorted mikes
|
Dave Modisette
Max Output Level: 0 dBFS
- Total Posts : 11050
- Joined: 2003/11/13 22:12:55
- Location: Brandon, Florida
- Status: offline
The MXl 603 was a freebie that came along with some other purchase as a bonus. I usually just have it in my Iso booth as one of two random room mics. I blend it in if it sounds good and if it doesn't, I mute the channel. Sometimes it sounds huge. Other than that, I haven't really used it. (It's too big for a key fob.) 
|
batsbrew
Max Output Level: 0 dBFS
- Total Posts : 10037
- Joined: 2007/06/07 16:02:32
- Location: SL,UT
- Status: offline
i have a at4033 as well...
and a adk hamburg....
but i looked at the tlm 102 when i wanted a better mic, and ended up with the Shure KSM44
just liked it better.
mics are very personal, because if it's your own voice your hunting for, it will either work for you, or not.
but i would strongly suggest checking a ksm44 out
|
Dave Modisette
Max Output Level: 0 dBFS
- Total Posts : 11050
- Joined: 2003/11/13 22:12:55
- Location: Brandon, Florida
- Status: offline
batsbrew
i have a at4033 as well...
and a adk hamburg....
but i looked at the tlm 102 when i wanted a better mic, and ended up with the Shure KSM44
just liked it better.
mics are very personal, because if it's your own voice your hunting for, it will either work for you, or not.
but i would strongly suggest checking a ksm44 out
I'm not concerned about what works on my voice, it's going to get Melodyned to death anyhow. I'm looking for versatile mics to add to my collection in the future. I was thinking TLM 103 till I started seeing how many people seem to like the TLM 102 better. I wonder if affordability is a big factor? Sometimes, we love what we own. (At least publicly.)
|
batsbrew
Max Output Level: 0 dBFS
- Total Posts : 10037
- Joined: 2007/06/07 16:02:32
- Location: SL,UT
- Status: offline
THE KSM..... has a wonderful feature set. http://www.shure.com/americas/products/microphones/ksm/ksm44a-multi-pattern-large-dual-diaphragm-side-address-condenser-microphone high points: Prethos® Advanced Preamplifier Technology: Class A, discrete, transformerless preamplifier provides transparency, extremely fast transient response and no crossover distortion. Minimizes harmonic and intermodulation distortions. Multiple polar patterns–cardioid, omnidirectional and bidirectional–for maximum flexibility in a wide variety of recording applications 3-position switchable low-frequency filter helps reduce unwanted stand vibration noise or counteract proximity effect
|
Gaffpro
Max Output Level: -75 dBFS
- Total Posts : 792
- Joined: 2004/05/10 03:42:07
- Location: Palm City, FL. / Nashville, TN.
- Status: offline
Because the 102 is darker than the 103, it would be a better fit for vocalists. The 103 has alot of top end, so sibilance may come into play.
I don't think you'd regret getting the 102. Having a Neumann in your arsenal would be a smart move.
The KSM Shures to me are a different animal......I think highly of them and I think they're versatile...I have a KSM 27 which I love.
Dave: The Peluso mikes are really good......I have the U47 clone......
Dell Studio XPS intel i7860, 8 gigs dual ram, Sonar X2 (x64), Windows 7 RME UCX Yamaha NS10, Equator D5, JBL LSR 2325 monitors Vintech X73i, Great River ME-1NV, Joe Meek VC3Q preamps RNC 1773, DBX 163x, Joe Meek VC3Q compressors DBX 263x deesser Neumann U87, TLM 103, AKG 214, CAD E100s Peluso 2247SE AT4050 and 4051 Shure KSM27, SM7, SM57, and UnidyneIII (from the 60's) Other assorted mikes
|
leapinlizard
Max Output Level: -82 dBFS
- Total Posts : 428
- Joined: 2007/02/26 17:40:11
- Location: Monument, CO
- Status: offline
Are any of these mics that you currently own multi-pattern mics? If not, you might want to consider a multi-pattern instead of adding another fixed cardiod. I'll put in another shout for the KSM-44, as I just picked one up on eBay for $450, and I've seen them go cheaper. But, having something with Neumann on it seems to put folks in a special bracket, but you can't touch a multi-pattern Neumann for less than the cost of major surgery. Anyway, if you are going to get fixed-pattern, then I would also look at the AKG 214 and compare with the TLM 102.
post edited by leapinlizard - 2012/06/10 13:30:19
"Surf music will never die." -- LeapinLizard, 1963 "We may never hear surf music again." -- Jimi Hendrix, 1967.
|