Shure SM57-LC Cardioid Dynamic Microphone Review

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(More customer reviews)This is a great all-purpose dynamic microphone for everything from amps and instruments to vocals, and it's far and away one of the best mics out there in terms of durability (they don't call them the industry workhorses for nothing)/sound/value. This'll blow the socks off those $30 mics.
But what's the difference between the SM-57 and the SM-58? Besides the grill, the main difference is Frequency response. Take a look at the charts in the manuals for both, and you'll note that in the slice of spectrum normally associated with the human voice, there's a boost with the SM-58. This may make your voice sparkle a little more on the SM-58, but if you were planning on possibly micing anything else, it's going to also have a boost in the same range, distorting the original sound slightly.
Plus, if you've got a decent equalizer, you can probably achieve close to the same vocal sound the SM-58 provides with just a little tweaking after the fact.
So, if you plan on using your mic for anything beyond singing, I'd suggest the SM-57 over the SM-58 (even though you may not look as cool holding it). And I'd definitely recommend this little baby over those cheaper models. Unless you need a condensor mic, this is the way to go.

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The Shure SM57 is a fixture in the music business. You see it everywhere. In small clubs and 100,000 seat stadiums. This renowned mic is used by legendary performers and the latest up-and-comers.What you may not have seen are the thousands of SM57s at work behind the scenes in professional recording studios around the world. In fact, you'll probably find it in more studios than any other mic.Not surprising. The unidirectional dynamic SM57 has set the industry standard by defining the way instruments should sound. Which is why it's used by any serious musician or recording professional. Its warm, clean sound along with its carefully contoured presence rise make it ideal for a wide range of instrument miking applications, particularly guitar amplifiers and drums.The SM57 features a uniform cardioid pick-up pattern that isolates the main sound source and minimizes background noise.

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Behringer 1204USB 12-Channel Mixer Review

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(More customer reviews)I got this mixer about 6 months ago. My friend and I do a weekly radio show on livevideo dot com every wednesday. We began by calling in on headsets with a mic, but I got this mixer and man is it great. I can have myself, and 3 other friends all on individual mics. I can control the volume and EQ for each mic, and mute them with one click. While thats all hooked up, I have a computer used soley as a music/sound effects machine. This mixer also has a total of 3 outs. So you can record on one out and still have 2 other usable outs. I did alot of research on mixers, and I'm 100% satisfied. I might suggest spending the extra money and buying the FX model. I didn't think I would need it, but I wish I would have the option to add effects to the sound. Even without that options is still a 10 out of 10!

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The XENYX 1204 is an analog mixer that brings old-school feel together with the endless possibilities of digital recording. Its included USB interface and energyXT2.5 Compact BEHRINGER Edition software will have you laying down your masterpiece in no time at all.

Channel Your Inner Guru The 8-input XENYX 1204 has four XENYX mic preamps with +48 V phantom power, making it possible to use four dynamic or condenser microphones. The three-band British EQ per channel ensures warm, musical sound. Two subgroups give you seamless transitions for backup vocals, drums or whatever the mix calls for.
XENYX Preamps The microphone channels feature high-end XENYX preamps that compare well with costly outboard preamps in terms of sound quality and dynamics, and boast the following features:
130 dB dynamic range for plenty of headroom
A bandwidth ranging from below 10 Hz to over 200 kHz for nuanced reproduction
Low-noise, distortion-free circuitry for a transparent signal
Perfect for most any mic, with up to 60 dB of gain and a +48 volt phantom power supply

"British EQ" The equalizers used for the XENYX series are based on the legendary circuitry of top-notch consoles made in Britain, which are renowned throughout the world for their warm and musical sound character. Even with extreme gain settings, these equalizers provide outstanding audio.
Two Aux Send Subgroups Add some outboard digital magic to your sound using the AUX send and return jacks. Simply connect an outboard device to apply effects such as reverb or delay, then use the control room function to monitor the effect signal via headphones and control room outputs. Two auxiliary send subgroups make it simple to assign multiple channels to outboard FX units.
Play music between sets via the RCA CD/tape inputs (assignable to main mix or control room/phones outputs) and record your performance to an outboard recording device via the RCA outputs.
Separate Outputs The XENYX 1204 features balanced main mix outputs with gold-plated XLR connectors plus separate control room, headphones and stereo tape outputs.
United by USB The XENYX 1204 is built to become fast friends with your home computer. Commit your mix to digital perfection via the included USB/Audio Interface, then polish and archive your creativity with energyXT2.5 Compact music production software. You can download even more free audio recording and editing software at www.behringer.com.
energyXT2.5 Compact BEHRINGER Edition Included If you're ready to take your projects to an even higher level, XT Software's energyXT2.5 is just the trick. This amazing DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI files, turning song ideas into stunning CD or web-ready recordings. energyXT2.5 includes built-in synthesizers, which can be accessed directly via an external controller or programmed by step-write mode. There's even a built-in drum machine and internal multi-FX processor.
What's in the Box Behringer 1204 Mixer, USB/Audio Interface, Power Cable, RCA Cable, Rackmount Bracket, User's Manual

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Shure Beta 52A Instrument and Bass Drum Microphone Review

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(More customer reviews)I actually used this Mic while on tour with The Wallflowers. I loved the great low-end response!

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Designed specifically for kick drums and other bass instruments, the Shure Beta 52A high-output dynamic microphone provides superb attack and "punch", and delivers studio quality sound even at extremely high sound pressure levels. A successor to the popular Beta 52, the 52A features a redesigned knob and tightening mechanism for more durability and a wider mounting base that can accommodate a larger range of mic stands.
The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain-before-feedback and excellent rejection of unwanted sound. A built-in dynamic locking stand adapter with an integral XLR connector simplifies installation, particularly if the microphone is to be placed inside a kick drum. The stand adapter keeps the microphone position fixed and resists slipping, even when subjected to sharp blows and strong vibrations. A hardened steel mesh grille protects the Beta 52A from the abuse and wear associated with touring.
Key Features
Frequency response shaped specifically for kick drums and bass instruments
Built-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drum
Studio quality performance, even at extremely high sound pressure levels
Supercardioid pattern for high gain before feedback and superior rejection of unwanted noise
Hardened steel mesh grille that resists wear and abuse
Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration
Neodymium magnet for high signal-to-noise ratio output
Low sensitivity to varying load impedance
Legendary Shure quality and reliability

Specifications
Polar Pattern: Supercardioid, rotationally symmetrical about microphone axis
Output Level (at 1,000 Hz): Open Circuit Voltage: -64 dBV/Pa* (0.6 mV)*1 Pa = 94 dB SPL
Impedance: Rated impedance is 150 ohms (45 ohms actual) for connection to microphone inputs rated low Z
Phasing: Positive pressure on diaphragm produces positive voltage on pin 2 with respect to pin 3
Maximum SPL: 174 dB at 1000 Hz (calculated)
Connector: Three-pin professional audio connector (male XLR type)
Case: Silver blue enamel-painted die cast metal with hardened, matte-finished steel grille
Adjustable, Locking Stand Adapter: Integral, dynamic locking, adjustable through 180 degrees, with standard 5/8"-27 thread
Weight: 21.6 ounces

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ProLine MS112 Desk Boom Mic Stand Review

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(More customer reviews)This is a perfectly adequate Boom Mic Stand suitable for use on a desk or for drum/amp mic'ing. I would not characterize it as "heavy duty" but for light to moderate use, it should be sufficient. The base weight is roughly 6 pounds providing pretty good stability. The base also has felt pads on the four corners to protect the surface of whatever you place it on. The boom has about 9" of travel and the boom height starts at 7" and can be adjusted up another 6" giving a total height of about 13". The ProLine MS112BK is a good value but probably not the best choice for rough usage.

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MXL V67G Large Capsule Condenser Microphone Review

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(More customer reviews)This mic is fantastic! I've been singing, writing, and recording for almost 30 years and this mic is pretty much just as good as all of the silly expensive German mics I've used in larger studios over the years. There's a very slight presence peak, but nothing like most of the other Chinese mics. It isn't shrilling or peaky at all. Male tenor vocals and acoustic guitar sound great without any need for EQ whatsoever beyond a hi pass filter for the sub 100hz stuff. This mic is also an excellent candidate for a Michael Joly mod, he calls it one of the 7 audio wonders of the world because it makes no sense that this mic is this good at under $200. Michael mods these mics and you'd be hard pressed to be able to tell the difference between this one and the famous U87 with the German name that starts with an "N". I'm using it totally stock and it's been great. Buy it.

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AKG D112 Industry Standard Large-diaphragm dynamic microphone for Bass Instruments and Kick Drum Review

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(More customer reviews)The D112 is an industry standard for kick drum micing, and for a reason. Its EQ contour is perfectly tailored for kick drum in a way that is only rivaled by the D6. For use in front of the beater, aimed at the rim, or outside the drum, the results are consistently satisfying. This definitely delivers that signature rock kick sound. If you are looking for more natural kick sound, the RE20 is probably your best bet, and if you like a very clicky sound, the B52 shines in that area. But the D112 should be adequate in any circumstance, if not necessarily the first choice for every genre. If you are only going to own one kick drum mic, this should be it.

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Studio Projects B1 Vocal Condenser Microphone, Cardioid Review

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(More customer reviews)I'm so happy with this mic. After going through two other condensers (an MXL990 and a Shure KSM27) which I got rid of, I'm finally content. The best thing is that the price is outstanding. This mic is priced far lower than what it should be.
The Studio Projects B1 has a wonderfully warm low end to it that still has detail. I have a midrange voice, and it fits me very well. The highs are not so overly "essy", as many other cheaper mics are. They are clear and just right. I barely feel a need to add much for EQ.
My previous experience with an MXL 990 was not a good one. I returned it in a day, due to the muddy lows and weird high end. I also had a Shure KSM27, which is probably better suited for high-pressure sound applications than VO's. I didn't care for its boxy highs sound, and sold that off.
The Studio Projects B1 is just incredible for the price. You can actually hear it if you do a web search on transom dot org mic shootout. It sounds better than mics costing thousands.
Really, an outstanding product. People say the C1 is better, but I just can't imagine myself needing it -- I'm so thrilled with this B1 for VO work.
The only con I'd say is the rather cheap basket holder. It comes with a free windscreen, though, which is a nice touch.
Remember, v2 of his mic has the extra -10 and -20 pad switch, as well as a two low-cut modes at -75, and I believe -150. Both work fairly well.
Get it!

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Musician's Gear Low Profile Desktop Stand Review

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(More customer reviews)I wound up buying a different one because this thing did not work at all for what they said it would. Sure, it is labeled as a desktop stand, I'm sure it would work fine for that. But in the description it said it would work as a kick drum mic stand, leading me to believe it would support a boom to get into the kick. It will not. There is no way this 4 inch circle could hold up a boom. It was a complete waste of money. They picture makes it seem a little bigger than it is, but make no mistake, this thing is tiny. 4 inches is even smaller than you'd think when you're actually holding the thing. If you need it for anything other than talking into on your desk, maybe for a podcast or whatever it is you use it for, then don't waste them money. Get something a few dollars more and save the trouble.

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Samson C01 Large Diaphragm Vocal Condenser Microphone Review

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(More customer reviews)A very affordable mic that made a tremendous difference in my sound. I can't really put into words how happy I am with this product.
This song was recorded using the C01:
[...]

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Great for recording vocals, acoustic instruments and for use as overhead drum mics, the new Samson C01 large diaphragm condenser microphone is accurate, detailed, and smooth, with plenty of warm bass and extended top end.

This sturdy microphone features a large 19mm capsule with 3-micron diaphragm, for a smooth flat frequency response. The Hypercardioid polar pattern is ideal for applications where more isolation is desired, and the internal shock mount reduces unwanted handling or stand noise.
The C01 features a heavy gauge mesh grill screen, a gold plated XLR connecter and a blue LED indicating 48V phantom power.
The unit includes a swivel stand mount, and fits the optional SP01 shockmount for further isolation from stand noise.

C01 Specifications
Frequency response: 40 - 18,000 HZ
Polar pattern: Hyper-cardioid
Element type: Back condenser
Diaphragm thickness: 3mm
Sensitivity: -33 dB/Pa
SPL: 136 dB
Impedence: 200 Ohms
Power supply voltage: Phantom power 36V - 52V
Weight: 2 lbs. (30.9 kg)
Dimensions: 24.5 x 24.4 x 18.5 inches (62.2 x 62.2 x 47.0 cm)

What's in the Box C01 Microphone, Swivel Stand Mount

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Shure KSM32 Embossed Single-Diaphragm Microphone, Champagne Review

Average Reviews:

(More customer reviews)The KSM32 is an outstanding studio mic - probably the cleanest, warmest sounding condenser priced under a $1000.00 This is a "best choice" for drum overheads... using just one of these will produce a superior kit sound than using a matched pair of just about anything else. Add a SM57 right alongside the snare head and a BETA58A directly in front of the kick and you have a "Shure" bet for a great drum kit recording with three mics. The KSM32 is preferred by many recording engineers over the top of the line (and most expensive) KSM44 - which can be sound little "brittle" or "bright" for some users. These mics are terrific on piano, wind instruments, guitar cabinets and all manner of percussion. I've had no experience with them on strings, but I'm confident they would capture a violin or cello with honest clarity and warmth.
Shure condenser mics are built like tanks and the strength of the grill to resist dings is legendary. The fit and finish is world class. These guys even sound good through the inexpensive mic-pre's installed on home multi-track units, like Korg, Zoom, etc.
If you aren't in a position to shell out several thousand for a Neumann U-87, then get hold of a Shure KSM/32 (or two) and be ready for some amazingly good recordings.

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Designed for studio use but rugged enough for live applications, the Shure KSM32 side-address condenser microphone with cardioid polar pattern features a permanently-biased 3/4-inch diaphragm, extremely low self-noise, and an extended frequency response specially tailored for vocal tracking and instrument recording.

Key Features
Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range.
Embossed, high-compliance diaphragm provides extended low-frequency response.
Ultra-thin, gold-layered, low-mass, Mylar diaphragm for excellent transient response
15 dB attenuation switch for handling extremely high sound pressure levels (SPL)
Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect.
Integrated three-stage pop protection grille reduces "pop" and other breath noise
Internal shock mount reduces transmission of handling noise

Performance Characteristics
Extended frequency response
Very low self-noise
Exceptional low-frequency reproduction
High output level
High input SPL capability
No cross-over distortion
Extremely uniform polar response
Superior common mode rejection and suppression of radio frequency interference

Applications Some typical applications for the KSM32 are listed below. Microphone use, however, is a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed.
Voice -- solo, background, voice-over, broadcasting
Acoustic instruments -- such as piano, guitar, drums, percussion, strings
Wind instruments -- brass and woodwind
Low frequency instruments -- such as double bass, electric bass, kick drum
Overhead miking -- drums or percussion
Ensembles -- choral or orchestral
Room ambiance pick-up -- guitar amplifier or drums

Specifications
Type: Permanently Biased Condenser
Frequency Response: 20­ to 20,000 Hz
Directional Polar Pattern: Cardioid/Omnidirectional
Output Impedance: 150 ohms (actual)
Attenuation Switch: 0 or -15 dB attenuation
Low Frequency Response Switch: Flat; ­6 db/octave below 115 Hz; -18 dB/octave below 80 Hz
Phantom Power: 48 Vdc +/- 4 Vdc (IEC­268­15/DIN 45 596), positive pins 2 and 3
Current Drain: 4.65 mA typical at 48 Vdc
Common Mode Rejection: ≥50 dB, 20 Hz to 20 kHz
Sensitivity (typical, at 1000 Hz; 1 Pa = 94 dB SPL): -36 dBV/Pa (16 mV)
Self­noise (typical, equivalent SPL; A-weighted, IEC 651): 13 dB
Polarity: Positive pressure on diaphragm produces positive voltage on output pin 2 relative to pin 3
Weight: 17.3 ounces

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