Build a Microphone Cabinet on any Budget

Sep 1, 2000 12:00 PM, BRIAN KNAVE AND MYLES BOISEN

           
 

Basic Coverage Midline ($3,500)

By Brian Knave

(1) Electro-Voice N/D 868 ($338)
(1) Audix D1 ($219)
(3) Audix D2 ($219 each)
(2) Earthworks SR77 ($599 each)
(1) BLUE Dragonfly ($1,095)

At this price point, I get to include one of my favorite kick-drum mics, the Electro-Voice N/D 868. This unit consistently provides a fat, round, warm, and solid thump, practically regardless of the drum. Also, it has exceptional off-axis rejection, making isolation a snap. Another contender here, though a tad more expensive, is the long-standing AKG D112 ($382).

You've probably noticed that I really like Audix dynamic mics; their superior transient response makes for a natural sound, which I like on drums. Here I'm promoting the D1 and D2 for snare and toms, respectively. With this budget, you can afford to forgo the handheld models and use mics that are more specifically designed for easy positioning around the kit. (Be sure to check out the sidebar "Drum-Mic Kits," which details drum-specific microphone packages from several manufacturers.)

My choice for small-diaphragm condensers - and here we're talking very small diaphragms - is the Earthworks SR77. This distinctive cardioid mic is a stunning performer, both in the studio and onstage, providing the extremely realistic sound that Earthworks is known for. I can hardly get through a session without using this mic. The SR77s are exceptional on acoustic guitars, percussion, drums (as overheads), and pretty much anywhere you want to capture the sound as is. The only drawback to Earthworks mics is their relatively high self-noise levels (a slight, airy hiss); however, this is usually easy enough to work around, especially in busy mixes.

Another great-sounding - and very quiet - small-diaphragm condenser I recommend highly is the MicroTech Gefell M300 ($495). In a recent comparison test (see "To Tell the Truth" in the March 2000 EM), this beautifully engineered mic was a consistent favorite in nearly all of the applications.

For this cabinet's large-diaphragm condenser, I could hardly decide between the Neumann TLM 103 and the BLUE Dragonfly. Both are amazing - equally quiet and first-rate in sound quality; either one will serve you well.

In the end, I picked the Dragonfly, if only because I find it a tad more forgiving on a broader range of instruments. For vocals alone (depending on the singer), I more often prefer the TLM 103, thanks to that distinctive Neumann presence boost. However, that same boost can sound a bit harsh on some sources (such as triangle or harmonica). The Dragonfly is a flatter-sounding mic, so if you're recording lots of acoustic instruments - guitars, pianos, drums, percussion - I think it's the way to go.

Then again, neither mic offers switchable polar patterns, attenuation pads, or low-cut filters. If you need the versatility afforded by these "extras," you might want to up your budget a bit and go for the AKG C 414 B/ULS ($1,258). This impressive mic has a smooth sound, nicely extended highs and lows, and great transient response. It's not only a great value but truly a classic that will do any mic cabinet proud.