Why is there almost always...

Loren Littlejohn

Loren Littlejohn

Lover of all boobage.
Aug 20, 2006
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Auburn NY- we grow em you listen
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Why is there almost always a "presence" boost around 10khz and 20khz on condenser microphones (cardioid pattern)?

I have been looking at the polar patterns of quite a few mics:

Studio projects c1
mxl 909
mxl 990
Neumann TLM 49
Shure KSM 44 (cardiod pattern)
Audio Technica 4040 (actually had 2 points where a boost happened 7k and 12k)

Just wondering why this is why is this desireable?
 
for air and sizzle in vocals? im guessing it also has alot to do with the actual design..electromagnets etc. what i mean is that ribbons are naturally darker/warmer on the whole.
 
Yeah I didn't compare to a ribbon (goes and looks at polar pattern of a 121)...

Yeah the 121 seems to have a flatter response nothing overly boosted anywhere? Is that common with ribbon mics or just that mic (goes and looks at other ribbon mics.)... no just looked at a woodpecker quit a bit of enhancing of the lows but maybe thats cause it's an active ribbon.

HMMM.....
 
ive used an r121 before and there is alot more to it than meets the eye. it has a really meaty sound to it, which is quite amazing really. almost like a mid harmonic exciter of sorts, but it just makes it juicy. and the bottoms are all there.

ive also heard a cowley and tripp studio vocalist (ribbon i believe) and it sounded like the most expensive condenser. rich bottom and detailed top etc.

to answer your question though, im guessing the detail is accentuated due to the high bump.
 
Most cheapo LDC (MXL, Studio Projects, Rode etc) have a presence boost so they sound clearer/crisper/more expensive...usually they just sound harsh though ;)

haven't made that experience with the better mics (TLM193 sounds very warm for example) the 414XLII has the boost lower (I think somewhere 2-4k or so) what makes sense for vox.
haven't tried the mentioned TLM49 though
 
We have a Neumann U87 at the studio and the highs on that are pretty smooth, in fact its the mic I always turn to for vox, real smooth and sweet, I have tried an AKG 414 and they are way to shrill for vox, they work great for overheads and acoustic guitar but they seem too bright for vox.
Most cheapo LDC (MXL, Studio Projects, Rode etc) have a presence boost so they sound clearer/crisper/more expensive...usually they just sound harsh though
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is about right me reckons, tell ya what wish i could get me hands on a C12, that would be sweet!:worship:
 
LSD-Studio said:
Most cheapo LDC (MXL, Studio Projects, Rode etc) have a presence boost so they sound clearer/crisper/more expensive...usually they just sound harsh though ;)
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Exactly I bought a cheapo mxl 909 when I started a year and a half ago and even as a newb the first thing I thought about the mic was "damn that sounds like shit". I never use it, a sm58 works 100 times better in my situation (although I wouldn't call it ideal by any means).
 
414's blow for vox - at least for what I do. I remember seeing Decline of Western Civilization II and there was a shot of D.M. recording the vox for So Far So Good... with a 414. If that's the sound you want, then go for it with the 414...But that shit sounds real 80's to me. I've actually grown to pretty much dislike 414's in general. They're good for ride cymbals, I guess.

C12's aren't much better, to be honest. I've used both the vintage C12's and VR's many, many times. I definitely prefer the VR's, since they tend to be slightly less top-endy than the vintage one's. But still, they just have way to much top for my tastes. I really hate using de-essers, and the C12's will pretty much guarantee that you'll be using them in the mix. "Modern" sounding vox requires some pretty intense compression, and that will bring out the sibilance of those mics, no doubt.

87's aren't my favorite mic for vox by any stretch (67 is untouchable!), but they are definitely more versatile than any C12.
 
metalkingdom said:
414's blow for vox - at least for what I do. I remember seeing Decline of Western Civilization II and there was a shot of D.M. recording the vox for So Far So Good... with a 414. If that's the sound you want, then go for it with the 414...But that shit sounds real 80's to me. I've actually grown to pretty much dislike 414's in general. They're good for ride cymbals, I guess.

C12's aren't much better, to be honest. I've used both the vintage C12's and VR's many, many times. I definitely prefer the VR's, since they tend to be slightly less top-endy than the vintage one's. But still, they just have way to much top for my tastes. I really hate using de-essers, and the C12's will pretty much guarantee that you'll be using them in the mix. "Modern" sounding vox requires some pretty intense compression, and that will bring out the sibilance of those mics, no doubt.

87's aren't my favorite mic for vox by any stretch (67 is untouchable!), but they are definitely more versatile than any C12.
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why are you so full of hate! ??



;)
 
GuitarGodgt said:
lol at nicknames for studio gear.
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yeah, but this one is obvious, ain't it? ;)


AKG-C-414-B-XL-IIx.jpg



btw I mostly use it for M/S recordings in combination with either a km184 or a Beyer m160 (depending on the source)...
 
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