one of my concerns if i had a modelling mic is i would probably
agonise over which vintage mic model to use on my vocs in a song.
due to the many different models.
You record the track first with the mic — although the claim is that they are neutral, the reality is that they’re lifeless and more sibilant than most cheapo Chinese mics. You then select the plug-in that gives the sound you want—that’s when the time wasting begins.
Chinese mics have gotten much better over the last decade. Those who made a living modifying the crap with upgraded components have either gotten out of it or just learned to build good mics from scratch.
I sold my U87s a few years ago and picked up a pair of
UST Twin87 mics. These have twin analog circuits that switch between the sound of a vintage U87 and a modern U87Ai — no emulation, two complete circuits. For $600ea, it’s a hell of a deal and one of the best investments I’ve made. Not ideal for everything, though. I still have my Neumann TLM193 and BCM 104 plus other mics. When singing background, a
Warm Audio WA47F sounds good on my voice but it lacks when doing VO work which is where the
UT FET47 shines. Both are supposed to be accurate copies of the $3,500 Neumann U 47 fet i (the UT is closer). I was going to audition both and keep one but found I liked both for different uses. The first time I used a ribbon mic on an upright bass was the last time I considered using anything else.
If a $50 mic did what I needed, I’d buy it. For years, my secret weapon for drum overheads was a
Realistic 33-1065, $18 at Radio Shack. I still have two of these though I’ve not used them in 30 years or so. Fun fact: these with the cables cut off were used as scanners, diagnostic devices and Tricorder props on many of the Star Trek series — I get a kick out of seeing them in Next Generation, Deep Space Nine and the various movies.
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