i know joe barresi really likes em....

 
I believe Joe is the one I read the interview on.

So many mics, so many choices...
 

Eddie Kramer with his ADK Area 51 TT Microphone

"I have been using the ADK Area 51 TT Tube Mic on the most recent sessions for the "Rock and Roll Fantasy Camp" at both Capitol Studios and East West Studios with a wide variety of Vocal Talent, from Male Rock Screamers to Powerful Four Octave Range female singers.

There was a remarkable consistency and predictability in the way the mic responded.  I always know that whatever I threw at it, I would get a satisfying result.  The top-end had a nice crispness to it without ever sounding unnatural. " 
--Eddie Kramer - Legendary Producer/Engineer (Jimi Hendrix, Kiss, Peter Frampton, Led Zeppelin, and many more)

Bat I thinksome beginners  tend to trivialize a mic purchase in not realizing the importance of  having a decent mic from the beginning. Part of me wants to go out and buy these things like candy used but I know that effort might not yield the best results, however it could give me more choices. Kind of similar to guitars I guess. There are just tons of middle range guitars out there that fit a lot of players budgets. Usually only after years of looking do some players go out and spoil themselves with a spouse killing purchase. Some can do it with no problem and more power to em'.
 
I think where we started to go wrong was in looking at a particular brand as a bread and butter item that was necessary  i.e. pro tools and the U87. Quality was determined by either name or cost. I no longer believe that to be the case across the board. I think it has been proven that mics are a lot more alike in some cases than they are different all branding and cost aside.
 
This is why I think these mic comparisons are a good idea. I'm certainly not slamming the guy who owns and uses the most accepted kinds of mics or software, but in many cases the decision is weighed against budget as well as performance and In in many cases the emperor has no clothes but noone will come out and say it.
 
If you go on the web and visit a well known studio you will likely see a lot of visual candy. Fancy consoles and cool looking asthetics. But how many of them are posting sound files? I know a few  post examples. Now imagine that the visual is no longer there and it all falls to the ears. Honestly a few of our members including yourself produce some killer tracks. You might have made it in a dingy room with unattractive looks. It really doesn't matter. The same applies to mics IMO. I think the blind tests pretty much confirm that I can save a lot of money on a mic :)
 
Mike- How is your kit coming along?

Ha, I watched the video.  From a Youtube sound clip, I sure couldn't hear major differences.  I used to use my SM57 for vocals on occasion, maybe I need to be doing sound checks on it again for upcoming songs.  Who is it...Bono...who uses an SM57?
 

I bought a Sennheiser, and it works, I guess to me that is all that is important. (and like anything you can change the tone a bit with a channel strip or other type hardware).
??
http://www.sweetwater.com/store/detail/MK4
 
But then I am likely to use something most other people won't I guess.
Works fine for me I suppose.
They left off some switches I suppose but I don't really need those.
 

Sweet upgrade for SM57s:
 
http://www.ebay.com/itm/like/291061528676?lpid=82
 
A  little hot glue and no one will know the difference.

Funny Mccue. That ADK Kramer uses would probably be a better choice for a top end mic or the one Bat mentioned the KSM44 or at the least on the same footing. Of course I would be willing to bet there was a little payout to Eddie for plugging the mic and this might have had something to do with his choices. We haven't really went into the top end mics that AT makes either. 
 
Makeshift (Mike) yeah....we seem to always come back to the SM57. I sing on an SM58 and it is a really a good mic. The 57/58 share most of the same DNA. Behringer makes a copy that is probably as good,at least to my ears. I would never have believed it until I used Behringer at a place I played. The results don't lie.
 
Another trend seems to be making really nice condenser mics that look like dynamics for live performance. Several manufacturers have them out and I have considered them. For one thing it's the form factor that most performers are accustomed to using. The design lends itself better to vocal techniques IMO and if the specs are as good why not? In some ways it might work better in the studio because the mics are  resistant to handling noise. Honestly I have great success many times with a solid mount. I guess if you live in CA. when those tremors come through you really need it. I'm not in the habit of slapping my mic stand when I sing or even bumping it. Maybe some vocalists just can't keep their paws off the stand.
 
I have heard several comments in other forums along the lines of  "any anomalies can be dealt with by EQ" If the mic is a few db high in the 3khz range then simply EQ out the discrepancy. It is really that easy? If it is that easy, then the divide between mics is even smaller. I think there is some truth to that .From my own experiences though I differ slightly.  I  think you get a more pure vocal, or guitar , or whatever if you have what you want at the beginning and don't need to add additional signal processing or EQ in order to get good results. In my case I have trouble getting a decent vocal at all, so I use every trick in the book to sound mediocre, but usually the more I try to do the worse it gets, so I go from passable mediocre to downright sucky mediocre. Going in with good vox can iron out a lot of   anomalies.

Another sweet upgrade for a SM57:
 
Transformer upgrade for SM57
 
AMI T58 Transformer For Shure SM57 Mic Mod review

You're just itchin' to get at a soldering iron aren't you?

I use one of these:
 
http://www.sweetwater.com/store/detail/NTC/
 
It is a Rode Classic Mk II. Actually I have the Mk I but they are very similar. It is a LDC with a valve inside it. It sounds very sweet on all vocals and anything ese that I have thrown at it too. It is quite a bit cheaper than your typical $4000 Mic but sounds very very similar to units costing twice as much. And it is Australian made of course!
 
The polar pattern switching is very intersting and versatile as well. Has got HPF settings and sensitivity settings as well. Comes with a nice shock mount too and accessories. Good value for money.