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Thanks for checking it out. I went into the B&O thing in the Royer video, probably should have brought it up again here though. Royer at least changed the head of the mic a bit from a rounded dome to a flat cap. Stagg changed the grill cutouts, slightly.

It's a weird pre to say the least, though its probably the most colorful of all the pre's since its quirkiness can't really be avoided. Its harder to get a clean sound from this than something altered/colored.

Not gonna argue with this statement at all. Lol

Thanks for checking it out!

I rarely use either, but when I do need to pull one of these out of the locker its usually one of the older 545s.

Thank YOU for checking out the video! Really appreciated!

@ I hope you have a lovely holiday and new year. ❤️

@@ALACGltd to you as well!

Good question. Answer is you can, but its a bit different. And why that is, i havent been able to fully figure out. I've taken mics that have "EQ" built in to them (D12VR for instance) and tried to recreate the EQ curve with an EQ in the daw. It gets close, but never exact and It probably has to do with how the entire head amp reacts as a whole to incoming complex signals. If you're in the school of thought that its "close enough" (which many times IS close enough esp in a mix) you can absolutely get by with doing it in post. To be honest, this mic is a little too bright without the mod and listening to it while tracking can be a bit distracting. Yes you can put an EQ on the channel while recording, but I'd rather have it taken care of before it hits the pre/converter (which you could do with outboard gear as well) than adding anything thats going to add potentially more latency. Its a workflow/preference thing. Id rather have to do as little as possible on the back end when i record, which is why we have so many mics in the closet here. Thanks for the comments! Appreciate it!

You absolutely can. I wanted to be able to quantify the response i was getting and without being able to 100% tell what the value of the existing cap was, theres no way to do that. After this video I went back and installed a different value cap since i felt i rolled a little too much off. If piggy backing gets it to where it sounds good for you, go for it!

I was really tempted to try out some other non-pro audio stuff from them. Nice to hear that some of their other stuff is of decent quality as well. Odd choice for them to go with a more squared off bell on the current line. Looks interesting though! Thanks for checking out the video!

Im not a fan of the 184. The original 84 was nice, but the headroom was kind of limited. The WA does a decent job all around. Thanks for checking it out!

Hey! Thanks for the comment and sub! At a distance, the mic performs pretty well. Lot of work to do when dealing with it close miking anything. But yeah, for the $200 this is currently sitting at, its definitely a bargain. I think with a proper tensioning, this mic would be even better than it is.

I've two Subzero 57 copycats. Not a fan either but bought them because they had extended range compared to a real 57. Also you can pick up 4 for the price of one real 57 here.

While i wouldnt trade my 121 for them either, for $200, its really not a bad sounding mic if you're not having to mic really close. I also do NOT agree with companies copying designs of current production models. Rampant IP violations permitted in the countries that manufacture these items and the market are certainly to blame for that. They do just enough to get past infringement rules. Sad, just come up with your own design at that point and if the product stands up on its own, you look like the innovator not the copy cat.

Theres a lot to clean up on the stagg for sure. But for $200 its not terrible especially if you have some space between it and the source. Proximity effect is disastrous on it and i think thats likely due to bad ribbon tensioning. Not a fan either on the drums. The R88 definitely beats both of these out for a ribbon overhead (or room). Though i am curious about the stereo version of the stagg. And youre probably right about the Heil hahahaha.

@meistudiony I'd love to see the Stagg compared with some of the cheaper ribbons from MXL. I own a MXL r80. I bought 2 as a pair for oveheads. Only one came, and they refunded the other. Guitar center said that I bought the last one. It has apparently been discontinued. So I tried it as a mono. I didn't like it. But when I tried it on vocals, it did OK. Im gonna see what it does with harmonica. Wish me luck.

@ ribbon on harmonica sounds like a bad idea lol. The air going on and out may be too much stress but if youre willing to risk it, please let me know how that works out! I have one of those mxl ribbons, i just put in for another cheap ribbon the ART AR5. I have a few others floating around. I recently sold a tbone ribbon i felt was particularly bad and have a monoprice active ribbon that is possibly one of the darkest ribbons ive ever used.

@@meistudiony good point. I will put a pop filter in front of it.

Yeah the low end is way exaggerated on the stagg when its close to a source. Its not AS bad when its got some distance but the lows are still a little mushy. I think its just a ribbon tension issue. One day ill muster the courage to re-ribbon it and tension it properly.

@@meistudiony if not @mannysmiclocker tensions and reribbons over your side of the water. I still havent mustered the courage to buy a ribbon mic due to the storage conditions too.

Never gonna argue against someone for the R88. That mic is a beast. I do prefer the royer on guitar cab, but not many other places. It does work well on horns esp lower brass. I gotta get an N8 one day. Ive heard nothing but good things.

The R88A is an amazing looking mic. I've watched about 9 videos on that. If I ever win the lottery 😅

Without a doubt royers design is based on the Bang & Olufson design. Most of the "bargain" companies rebadge mass produced items, usually with a slight modification here or there, so thats likely true as well. I have run into instances where a company in china was building a product for a major manufacturer of pro audio gear, lost the contract but continued making the device they were making and slapped a different brand name on it... logs of strange things going on out there that probably border on legality. Thanks for checkin out the video! Appreciate it!

They were really close on overheads as well. I used the royer for the ride side and SRM70 for the hat side. They worked well as a pair. Only time i didn't like the SRM was when it was CLOSE to a source. It doesn't handle proximity well at all and the bass test was kind of telling. Ive had a few people suggest a cheap ribbon shootout recently. I have a bunch and @joesalyers recommended the ART AR5 in another comment. Def worth lookin into! Thanks for checkin it out and checkin in! Have a great holiday season!

Thanks for the info! Would love to check that out! I've been looking at the stereo SRM75 as an alternate to the R88 i have for drum overheads. Another stereo ribbon out front of the kit is usually nice, but Id rather not spend another $2k+ on another AEA (even though they sound amazing). Gonna put that AR5 on the list! Thanks again!

This is a copy of the original video with the volume essentially reduced by less than 2db, and no strike. So weird. I had to leave the original up but unlisted until the claim goes through.

@ super strange

The one I have I dont think is made any longer. However there's something really close from the same manufacturer and for about the same price (maybe just an updated model). Its def not the best but, for as much as it gets used, it does the job. Heres an affiliate link: amzn.to/3BJ8JCv

Thanks for checking out the video! Appreciate it!

Check out the new Kompakt version (ruclips.net/video/PEJBcMKbutk/видео.html) for use on toms. I think the sound profile works a bit better on rack toms and the small form factor and change of clip makes it a little more user friendly. Id stick with the original full sized for horn use though, theres a weird cut in the upper mids that I dont think would play nice with a sax.

From a basic standpoint, both mics pick up sound and in that respect, you're correct. Is this mic overpriced? Id say no, only because of the insane engineering inside (and outside) of it. A lot of tooling and machining needed to produce this. But why choose something thats $1000 over one thats $100 that seems to do the same thing? Again, from a basic perspective they do. When you start to get into more of the finer details, you find that things aren't the same at all past that basic concept. Off axis rejection is important in certain professional situations and the two mics handle that VERY differently. Frequency response on the two is also very drastically different as well. The Shure having very harsh upper frequencies whereas the sennheiser isn't as drastic. This is a matter of how much work you want to do in post to get the subject you're recording to sit within a mix. For spoken word, it doesn't matter as much, especially if theres no comparison between the sound of X vs Y. The sennheiser also has filter controls built in which the Shure doesn't. In certain circumstances, having a bass rolloff may be required. If you aren't able to handle that on the receiving side, having this on the mic is a godsend. The Sennheiser also has voicing controls for the top end to either flatten or enhance it. Shure implemented something very similar on the SM7B, but nothing on the 57. Again, for basic everyday use, yeah, go for a 57 or 58. For studio/live professional work, go with something that is more tailored to your use case. This is why we dont just have ONE microphone that just picks things up for sale. (also why there is more than one type of wine to drink ;) ) Does it have to be a $1000+ mic, no, but I can think of a lot of situations where the $100 won't pass in a professional situation. End of the day, a choice like this is made in response to a working situation. If this mic save time in getting things right, well, time is money. If the money it saves exceeds the cost of the product, then it's worth it! Why would someone buy a Mercedes vs a Toyota? They both get you to where you're going. In this case I'd argue for the cheaper of the two vehicles since the cost of maintenance on the Toyota is significantly less than the Mercedes. Neither is going to get me to my destination any faster, so the cost comparison is out the window in regards to Time vs. Money. (especially in NY traffic lol) Both scenarios are quantifiable in their own regards and is up to the individual to figure out for themselves if it fits their need. And lets not forget about the personal taste factor... thats worth a lot to some people! Thanks for the comment and checking out the video! Appreciate it!

Forbidden peanut butter. Makes the mic sound twice as good! Lol. The internet has ruined so many great deal opportunities. Everyones now and expert and knows what they have even if its junk. Theres a guy selling the outer shell of an old sennheiser mic (no capsule or anything) just most of the body for almost a G. So crazy. But if the market is willing to pay… which i guess it isnt in his case since its been up for months now.

Hey thanks for checking it out and subbing! Been collecting mics for over 20 years now. You occasionally find people or bump into things online. Just recently posted the newest revision of this mic, the Kompakt. ruclips.net/video/PEJBcMKbutk/видео.html

This is a cool little mic. And i mean LITTLE! Lol This was right around the time bob passed. Hope you got some info out of it. Thanks for checkin in!

@meistudiony sadly, I didn't know that Bob had passed until yesterday when I saw your video. The world is at a loss without him. He was so kind to me when helping me choose the pr31bw for overheads, and I didn't feel like he was talking above my head. He was spot-on! Its PERFECT for my needs. I wanted a small-bodied, large diaphragm, dynamic mic because I only have 7 foot ceilings in my basement studio. I have a nicely treated studio, but my HVAC is next to the studio. Condenser mics were capturing the air noise from it. I tried ribbons, but they sounded horribly muddy (even after eq). Two engineers (one of them was multi-award winning) have visited my humble studio to collaborate with me. They couldn't get over how well the PR31BW pair did at capturing only what they were pointed at, and how clean the audio was. Very little EQ was needed in post. Best part was that I haven't even tried a cieling cloud above the mics, and they already sound great. Im going to build a cloud and see if it makes any difference. Cant hurt, eh? ....After seeing your video on the Handi Mic, I noticed that it seemed to pick up highs really well, but the bass was a little muddy. Im sure I could fix all that with EQ. I think the Handi Mic will serve best as an under snare mic, or a cheap vocal mic for interviews on-the-go.

I like that they got away from the sintered bronze wind screen on the D1200. Still a really cool looking design. They both remind me of light sabers!

R88 all day long. Perfect phase/coherence everytime. Ive used r121s as well, dont like it as much.

@@meistudiony Monster mic!

It’ll def cut thru the live mix for sure!

Mentioned in your other comment on the repair video, these are all just capsule->xlr. The switchboard on the 906 has a couple of components but thats it. There isnt even a capsule mount. The capsule is floated by the foam insert in the basket.

@@meistudiony this is fascinating, i always assumed capsules required circuits. i appreciate the responses !

@ dynamic mics dont. Anything condenser or (regular or electret) does. Many dynamic and ribbons have transformers as well to help boost the output and also protects the capsule against stray voltage.

Yes it is. No transformer or anything. Straight shot. The only one that has anything in it is the 906 which has a small board for the filters.

@@meistudiony could a 609 become a 906 or are the capsules different? i was interested in modding a 609 after this

@ i think there are slight differences in the capsule but i could be wrong. Unless the filter bank is doing something even in bypass, the two mics dont sound the same on any setting. You could certainly throw a lpf in the 609 to tame some of that high end.

Lol dont have to thread it if you never take it apart! -taps head

I used to have hair too… ruclips.net/video/EmNloUBCAQA/видео.htmlsi=id2ZcIS0PeJaWaQv Lol

This one had been on my long list. Its definitely got a unique flavor to it. I like what it was doing on the acoustic guitar but was kind of bright everywhere else. Nothing a little eq can fix. But i picked them up to be spot mics on a rather large drumset for an upcoming project. Thanks for checking it out and for the comments. Appreciate it!

Thanks for checking out. From a price/performance perspective, sm81 all the way. I really feel the 451’s are over priced for what they are. If they still had removable capsules might be a little more justified, but not as is.

@@meistudiony yeah man, been enjoying your content over the past few days....thanks for doing it. I actually love 451s, but not well enough to buy (unless I found a serious deal). One of the studios I work at has a pair that I occasionally use, although it's kind of a crapshoot because one of them picks up an AM radio station during daylight hours. In regards to the 81s, it wasn't that long ago that everyone was crapping all over those things and I never understood why.

@@meistudiony IMO the 451b doesn't make sense for its price since sE electronics, Lewitt and Lauten Audio came out, unless someone really dig into the sound of this mic. Nowadays we have a bunch of versatiles and good affordable SDCs.

@@davewestner not so long ago. (I guess thats relative) this idea popped up that electret mics were somehow inferior to their “true condenser” counterparts. Id have no doubt that played a role in the hate a lot of mics get in the sdc realm. Im not going to bash someone for not understanding the technical aspects of a particular technology, especially one like electrets since it seem like utter black magic to me. However, spreading false info is where i get frustrated and annoyed, especially when all the info is out there for anyone to find. Love me some 81s.

@@meistudiony Didnt realize it was because of the type of condenser mic it is, thanks for the info. Glad to meet another 81 fan!

Hard to disagree w any of this. I think they’re quite overpriced personally, however, they do go on sale. I was able to pick up my pair for around $1100 after tax. Still really steep imo. Ohs are a tad bright. I love my R88. Just rolls off those highs perfectly. Def would need to either stick a shelf or lpf on the 451s for a mix. Ill have to check out the c26/28s. Not sure ive ever used em. Thanks for watching!

Thank you! Appreciate you checking it out!

@@meistudiony I'm a fan of AKG. I have one of their budget d65s's knocking about, and a first gen c3000 (black with green stripe). Underrated stuff. They've lost a bit of that magic for me since sacking the workforce and moving to Hungary, sadly.

@@Fl4ppers the first gen black C series were cool lookin. Wish they stuck with that over the champaign or silver look. They finally figured it out a few years back when they went to all black on their P or perception series. D65. Havent run into that one yet.

Hit me through my website. 😉

D190 just has that mid forward instead of scooped thing happening. Depending on the instrument either could be the right choice. I have a really thin (dimensionally) snare drum that the 190 just brings to life. My usual goto, the m201, just has too much top end for it and a 57 makes it sound like paper. Right tool for the job kinda thing. Thanks for checking it out!

Using a really surgical eq like fab filter pro q3 or something similar the sound can be shaped quite nicely. Since the response on both mics arent weird scooped messes in the midrange both take eq quite well if used lightly. The high and low ends with either a smooth shelf or a low db/oct filter work nicely with either mic. Ribbons tend to be cool like that. Unless youre dealing w a ton of proximity build up ribbons and eq go well.

Oooooooayyy!

Not a stupid question at all. It serves a few purposes. First it protects the diaphragm from dirt/debris. Second, because of the density of the foam, it actually affects the tone of the mic and rolls off a bit of the high end which these mics desperately need. Third and most important, there is no capsule holder in the mic. The foam floats the capsule in the head basket. So without the foam, the capsule will just kind of rattle around in the housing which probably wont sound great. So you do kind of need it unless you can come up with a way to stabilize the capsule in the head-basket.

Thanks for checking it out!! Appreciate it!