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Microphones
I own an extensive collection of over 35 microphones, ranging from rare
and obscure vintage models to modern classics. In addition to these
there will usually be a wide selection of Laundry Rooms mics available,
including models from Sennheiser, Calrec, CAD, Audix and more... some
of these sometimes go off on tour, so the list below is not complete:
these are just the mics that belong to me, or that live permanently at
the studio.
Condensers
Neumann
U87 AI Modern version
of the legendary classic. This mic
belongs to
The Laundry Rooms but is usually available if the live room is booked
for your session
Beyerdynamic
MC740
A high-end
multi-pattern LDC that sounds great. This mic
belongs to
The Laundry Rooms but is usually available if the live room is booked
for your session
AKG C414
B-ULS
(x3) Another classic design that can be used for almost
everything. These
mics belong to
The Laundry Rooms but are usually available if the live room is booked
for your session
SE
Electronics
Z5600A This is a
large diaphragm valve condenser mic with 9 polar patterns to choose
from. It sounds big and detailed, but not too coloured. Its a great
vocal mic, but I'm also fond of it as a drum overhead.
Earthworks
QTC30
Extremely flat and accurate omni mic, designed for quiet or distant
sources. This kind of mic usually requires a good sounding room to
record in... fortunately that's not a problem here!
Beyerdynamic
MM1
This is
actually a measurement microphone, but it provides very flat and
accurate recordings, much like the Earthworks mic except with a higher
noise floor.
Beyerdynamic
SHM 201
A minature gooseneck condenser which can reach places other mics can't.
Rode
NT5 (pair) A
matched pair
of small diaphragm condensers, excellent for drum overheads, acoustic
guitars and many other applications.
Samson CL8 Another large diaphragm mic. This one has a
choice of
three polar patterns, and I often use it in figure of eight mode in
combination with the Z5600A mic for mid-side stereo recordings.
Stagg MC07
Another LDC, this
time with cardioid or omni modes.
AKG
CK77 Miniature lavalier clip mic, good for
video work, or
for getting right inside acoustic instruments.
Ribbons
Beyerdynamic
M160 A classic
double ribbon mic with a hypercardioid pickup pattern. This is good for
certain types of singers, or for warm fat drum overheads, or chunky
guitars, or rich, earthy woodwind or brass... possibly my favourite
microphone!
Beyerdynamic
M130
This is the
figure-8 version of the M160. Slightly darker sounding, but otherwise
very similar. This is designed to be used with the M160
for mid-side stereo recording, which can sound glorious for things like
choirs, horn sections or string ensembles.
Beyerdynamic
M260
Mine is an
old vintage model I found on ebay. Its a bit brighter sounding than the
other two Beyer ribbons, and can be used for vocals without a separate
pop-shield. Also makes a great drum overhead: its another of my
favourites!
Dynamics
AKG
D12
It is highly likely
that this microphone is older then I am! It was designed in the early
1950's, and during the 70's it became the standard mic to use for kick
drum: with no processing it gives an instant classic 'thump' sound, but
it also takes EQ well and can be shaped to give a more modern kind of
'slam'.
AKG D202
"Sound
Rocket" This
mic has an unusual shape (hence the nick-name) but also an unusual
design: it uses separate diaphragms for the bass and treble
frequencies, and combines them via a cross-over network, kind of like
'woofers' and 'tweeters' in reverse. The result is an unusually wide
and flat frequency response for a dynamic mic, and no proximity effect.
These mics are used in the houses of parliament: have a close look next
time you see PMQ on the telly!
AKG D222
"Sound
Rocket"
Slightly more modern version of the D202 above. Also sounds fantastic.
Beyerdynamic
M201
(x2) These
hypercardioid dynamics are favourites of the BBC, and sound good on
almost anything. They are particularly effective for snare drums, where
they usually sound better than a '57 (in my opinion) and pick up less
spill from the hi-hats.
Beyerdynamic
M101
Omni version
of the M201, with a very smooth and natural sound.
Beyerdynamic
M88
(x3)
This
is
ostensibly a vocal mic (Phil Collins sings into them live!) but it is
actually my go-to mic for bass guitar amps, and one of my favorites for
kick drum. Its also killer for guitars, brass,and loads of other stuff.
Mine is a vintage silver model with a Tuchel connector (it used to
belong to the BBC) while two more modern black models belong to the
Laundry Rooms, and will usually be available for your session.
Beyerdynamic
M69 Similar
to
the M88 above but without the extended low frequencies, and with a
presence boost which can work very well for female vocals. Also sounds
great for guitars, snare drums, trumpets etc.
Beyerdynamic
M81 /
M810 / M818 (x5) These
vintage
mics
look like minature MD421s, and have a warm and fat sound
that suits guitars and saxes very well. Both M810 mics have Tuchel
connectors, while the M81 and M818s are hardwired, but all
five mics sound identical.
Blue Ball (x3)
These
are
phantom powered dynamic microphones with a distinctive spherical shape.
Good for drums, bass cabs and guitars. Two of these are mine, while a
third can usually be borrowed from my neighbour Martin Smith (Mu
Studios).
Sennheiser
MD515
"Stick Grenade" Another
usual
vintage
mic with a distinctive shape and a nick-name. This mic
uses the same diaphragm as the famous MD421 microphone, and produces a
similar big, open sound, with lots of detail. This is a great mic for
drums (including kick drum), or bass and guitar cabs.
Shure SM58
(pair)
I don't
suppose I need to say much about these. Industry standard for good
reasons, and useful for much more than just vocals. My two are a bit
dented from live sound duties, but both work fine even after years of
service.
Shure SM57
(pair)
As above,
except I rarely use mine live (and never for vocals if I do) and have
kept them both in perfect condition.
Shure Unidyne
(x2)
These were
the precursors to the SM57, and sound very similar albeit slightly
warmer. I have two slightly different models, and they provide useful
alternatives when micing guitar cabs.
Shure Beta 56
Brighter sounding
than the classic '57s, and with an angled body to make it easier to get
into tight drum kits.
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