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Thanks for checking it out. It would be nice if companies could make some of the older models available again so the cost to play isnt so ridiculous. I preferred the 409 on almost everything. The 906 has a lot of bottom end for my taste and the 609 is like a betterish sm57 kind of lol.

Def not. The 906 is solid. Thanks for checking it out!!

The cloudlifter Z is pretty awesome with the variable load. If you haven't played with that its worth the cost of admission. There are 2 gain settings as well.

@@meistudiony I went out and bought every single "Cloud Lifter" type device I could find. I respect Stephen Sank's Cloud Lifter design, but I can't buy a lot of those things at $250 a shot! So I settled on SE Dynamite ($99) and bought a dozen. Best bang for the buck (pun intended).

Im planning this for an upcoming video to show how tube swapping changes things... or doesn't. Theres a lot of mis info out there regarding this and figured it would be a good topic to dive down the rabbit hole. Thanks for watching!

If its just the foam i wouldnt use him. Hes in rural switzerland and shipping alone would be more than its worth, plus he mainly deals with european brands (akg, sennheiser). If you have a pl10 or RE20 that needs refoaming and clean up if you want to do it yourself i can point you in the direction of a place to get the foam. (and you dont want to do it yourself hit me up through the website i may have some other alternatives).

Wow, im really humbled by this comment. I really appreciate the time to check out the video and leave this amazing comment. If you dont mind me asking, i recently got an american dr330 and needs re-ribboning. I have some 1.4u stock and am having a tough time finding ribbon material. If you wouldnt mind hitting me up via my website, id love to chat about this. Again, thanks so much for this comment. Made my week!

I can talk ribbon mics all day. Will send you a note via your website. But I have to say, 1.4u thick stock? Dude, that is thinner than thin. Industry standard is 2.5u (set by RCA) and cheap Chinese ribbon mics use 5u or 7u. 1.4u (which is why reribboning a cheap MXR can be a wonderful investment) 1.4u is almost impossible to work with and can blow with a fly fart. LOL We will talk, it is all about compromise, right? Will send a note via your wonderful website. Nice mic locker!

Oh, sorry for the verbal diarrhea, love the topic. I have an American DR330 I bought from my ribbon mentor, Clarence Kane of ENAK. Aesthetically I think they are a work of Art Deco magic.

@@curtvincent3728 Ive worked with .5u ribbon material. need to wear a mask while installing it as the slightest breeze will destroy it. Got your msg and replied. Thanks again!

Thanks for watching! Appreciate it!

Thanks for checking it out. From my tests (check out the impedance video) the only real effect is sensitivity and the bottom end when it comes to lower impedance on dynamic and ribbons. I suppose if a particular mic had a hyped bottom end, using a lower impedance pre would make the mids feel less scooped and more present. I havent noticed transient differences when it comes to impedance, but thats interesting, perhaps another dive down that rabbit hole is warranted.

@@meistudiony Its a fun little experiment that can give insights what works best for certain mics. Impedances are associated with the slew rate of transient response, so how "squashed or not" something will sound. Audio tests are always fun. I subscribed to your channel keep up the great work!! Cheers!!

@@joesalyers appreciate it. Thank you!

Appreciate ya!

Wasn't a big fan of it on toms though the rejection was a little better on the 409 than the 609 or 906. I thought it sounded nice on the bass and electric guitar though. Thanks for checkin out the video! Appreciate it!

@@meistudiony Yeah I really like all three on bass. Surprised me as I really only used the 906 on cabinets in the past. Might try it on Darbuka/Doumbek or Tabla oneday. If I ever get my life back in check 😂😅

They're not bad on percussion. And, you can do it! One day at a time!

Nope, its not you lol. Pretty much my thoughts. The differences there are between these can probably be done (or undone) with a little EQ. To pay 4 figures for one of these mics is a little out of sorts. Appreciate you checking it out!

@@meistudiony Thanks for taking the time to make these videos. Seems like a lot of work!

@@trickfall8752 thanks for taking the time to watch it. Makes it worth it on my end.

The main difference between the 609 and 906 is that the 906 has the switchable presence filter built in (and the 609 doesn't).

@@DaveMcCall the 906 has more bottom end than the 609 also. A lot more.

I went into that a little on my previous video. Setting it to high boost brings it closer to the 609 but the hi-cut doesn't really make it sound like the 409 at all. The 906 switch bumps up/down around 4k (same boost as the 609) The 409 has a bump around 12k-ish and a little cut between 4-10k (which is why i think i prefer it on electric guitar). And i agree w you, for $100 id rather use the 609 than a 57, and its easier to get into position (and you can just drape it over a cab if you need to without a stand and it'll work). Thanks for checking it out!

Not bein that guy at all. I agree. I like the more mid forward sound of the 409 over the 609 and 906. I just dont feel the mic should be fetching $1000+. Ill have to keep an eye out for the 403. Thanks for watching!

@@meistudionyIndeed the MD 409 is very over valued, specifically for a dynamic microphone. The Sennheiser MD407 is an updated version of the MD403 from what I gathered (more modern housing) and a bit more common as there are Dual, Fisher and other badged versions out there.

@@grandtetone the 403 was that little cheese grater looking thing right? Ive bumped into the 407 which is just the head basket portion of the mic on a stand. Those are still going for 3-400 which is more reasonable if this is the sound youre after.

@@meistudiony Yeah a cross between a cheese grater and electric shaver!

@@grandtetone that is an awesome description!

Beyerdynamic makes some really nice stuff. Bunch on my wish list. Have you ever compared the original 409 to a U3 or any of the newer ones?

@@meistudiony No, I'm from Argentina and there weren't that many new 409 U3s here (I never actually saw one), I would have to import them used. What did enter the country a lot were the Grundig microphones made by Sennheiser at the time and they were available quite cheaply (at least until a few years ago when not many knew what they were). From what I have heard online, the 409 U3 has a little more bass (tighter) and this makes sense because the rear ports (Helmotz resonators) on the rear of the capsules are different, the front resonator (cap resonator) is the same, just different color. What I did compare with some friends was the e906 to a couple of Grundig gdsm. ruclips.net/video/meNedRdFmnI/видео.html

Its def a cool mic. The prices are nuts these days. Interesting youre using it for vocals. That was the pink floyd use for the original 409. Thanks for checking it out!

@@meistudiony You often saw the earlier model used on vocals by Pink Floyd and the U3, by Michael McDonald and the Doobie bros. It has a nice mid range that works well for vocals and guitar.

@@meistudiony Also James Murphy from LCD Soundsytem's vocal mic.

I agree 100%! Part of the point of putting the mics "in the mix" on the drums was to show that in context... the small differences make pretty much no difference. Thanks for watching!

Ooooooayyyy!

True, but, in all fairness its not meant to compete with that. The circuit is nothing like a U87, just the capsule is similar. The mic as is though is REALLY good for the price. Id recommend it to anyone looking to get into building gear. Thanks for checking out the video!

@@meistudiony I agree...

Thanks for checking it out. The mic is pretty flat in that low mid area so scooping out a bit it probably warranted. Definitely a solid mic for the price.

Placing the cap on the capsule after raising it does make it more directional but its a little different than having the capsule tucked back into the body. If i had a test chamber to use i could probably plot a polar pattern, but alas... The nice thing about the 3d printed capsule riser is you can take it off anytime you want no soldering involved.

@@meistudiony placing the cap on the capsule after raising it, do you mean placing the hypercardioid converter cap? I wonder what kind of difference does it makes.(after the mod) In a better way or worse? I’m interesting about hypercardioid ability of c1000 but I dont like the way it sound in stock before modification. I’m looking for a lower priced mic alternatives of audio technica at4053b. A nearly balanced sound hypercardioid pencil. Nice to know you. I’m erwan from indonesia

Yes, PLA 100% infill. You can use stronger stuff, but i've been using one of these clips on the RE320 for a long time now and it seems to be holding up just fine. As long as its not exposed to crazy temperature swings and UV you're good.

Thats why i try to get session ppl to demo stuff for me when i can. Focus on the tone and not the performance lol.

The drumming sound’s improved alot

Thanks for checking it out. I love these mics!

It is, the cap is in a different place though. I got my hands on a 220 and will be putting out an update like i did for the C1000S mod in the future. On the 220, on the back of the switch board (opposite the actual switches) theres a bank of 8 components all in this orientation (====) the bottom left is a bigger cap easily identifiable. The cap that you want to replace though, is the third one in from the right (2nd from the left) on the top row. its a brownish unmarked bit. you can find some pics and explanations here: (you do have to sign up to see the pics i think though, its free) groupdiy.com/threads/akg-perception-p220-to-neumann-u87-5-min-mod-p200-p100-p400-p420.67473/

Thanks so much for checking it out! Really appreciate it. I have another ribbon mic video coming soon that hurt my brain (a royer knock off).

Good to hear from ya! Shoot me some pics would love to see em!

Thanks for checking it out and yeah, you're right about that 631, just found one for $85 in great condition with the original box!

@@meistudiony Excellent score!

Yes they are. I should have brought this up since they even copied the “L” version and made an sm63L long handle. Thanks for checking out the video!

Thank ya much B. Appreciate you checkin it out!

Its crazy to me how many people love the mic but it never makes one of those “Top 20” mics or other lists. Thanks for watching!

I was surprised how even it sounded as an overhead tonally. You're probably on to something with making it a catchall mic. Some other folks have mentioned this as well. I love darker mics when it comes to cymbals, its just less i have to do at mix time. Thanks for the comment and checking out the video!

Thanks for checkin it out. I've had one laying in the closet for a long time and I don't think I've ever used it in any capacity for a session. I picked up the ND and the new(er) A-B for the video. I really liked it on the congas, very even tone. Most directional mics have weird spikes on certain frequencies that dont handle the freq. range of most percussion. (the 441 is probably my fav but damn its expensive and if you have multiple things you need to mic at once... cha ching!)

Thanks for the comment. In regards to the omni thing, yes youre right about the sound going around, but thats the case with any mic, just a property of how sound propagates and not really a property of the element. The reason the body of this (and all other omnis for that matter) is closed off is to keep sound from cancelling out behind the diaphragm. Sound coming in via a port would start to turn the omni pattern into cardioid. For a condenser with two polaraized capsules (omni mode) its more of a true omni directional pattern with the capsule being the center of the sphere. Dynamic, unported, is more like a sphere in front of the capsule. At least thats hows its been described to me by shure, akg and sennheiser. Might be s good topic to experiment with and see what the reality of the situation is though. Dont think ive ever taken the time to do that! Lol Yoko sucked… maybe thats what john saw, or rather experienced. hahahaha.

​@@meistudiony You may have a point about Yoko! Anyway, I think we're both arguing the same point about omni mics, just from different directions - so to speak. Check out any measurement microphone, and notice how the element is made very small, and the diaphragm is very close to the front of the mic. Usually, the element is at the end of a long, slender stem. The whole idea is to keep the mic body out of the way so that higher frequencies from the sides and rear can get to the diaphragm. And the smaller the diaphragm, the less change there is in high-frequency response due to angle of incidence. Since the wavelength of a 20kHz wave in air is about 0.68 inch - and of course lower frequencies are longer - keeping the diaphragm below 0.25 inch provides an almost perfect omni response.

@@ScottGrammer the design for the measuring mics is spot on. The small electrets are also pretty flat as far as response goes. There was a model of panasonic capsules that was amazing off the shelf but,of couse, they discontinued it.

@@meistudiony I remember some small, cheap Panasonic capsule you could buy in the 80's. They were more or less "project" capsules, but were flat within a dB of so from 20-18k. And you could buy them for like $3 each!

@@ScottGrammer probably the same ones. They were made up until a few years ago.

Everyone knows the RE-20 and, yeah, you're right, no one talks about anything else. When I did the kick mic video, the EV PL33 was a "woah" moment for that. I've never heard of anyone using that mic, always the 52, D12, D112 or something, and that mic was just almost perfect. Some of the other smaller dynamics like 635 just sit really well. Their condenser, nd66, though... a little rough around the edges! Thanks for checking it out!

Greg Scott is a true mad scientist and artist. Love that dude.

I think the 470pf was a nice balance. I did a 680 in the video and wound up dialing it back a little since i felt it was a little too much of a roll off. You can use just about any non polarized cap you want (id stay clear of electrolytics though). I like the poly or film caps personally. Most film and poly caps can handle high voltages but anything 50v and above is good.

@@meistudiony thank you so much!!!!

Interesting. So youre getting kick batter side, some snare and toms all in that one mic. Are you also close micing everything as well?

Second!!

They're not "BAD" mics, they do the job that they're intended to do. I just don't feel they exceed any kind of standards where I feel I would choose these over some other mics that are in the closet. Curious if you use any of the mic models or do you use them without the hemisphere plugin?

@@meistudiony No modeling here. But interestingly, as I pulled out the mics yesterday, BOTH of my stereo set are making a super weird underwater burbling-like background noise. I spent about a 1/2 hour troubleshooting my patch bay and preamp/comp, plus my snake, then the board channels, then finally tried one of my warm audio mics and the noise was gone. So. I revise my statement above, and I'd say they sound great, but the quality is questionable at least on my pair.