A popular answer to the question whats a good mic in the $300 range has been the ADK Hamburg for quite some time. The Hamburg (a bit of a German reference, ya think?) has lived past the flavor of the month and continues to sell well based on its reputation as a lot of mic for the buck. It delivers a sound without the sort of edge that inexpensive mics are famous for. For voice on a budget, the Hamburg is a popular suggestion of mine. It has a rich and detailed midrange that fits voice nicely, and the top is a natural sound without a presence boost, so it tends to be forgiving in the sibilant range as well. The Hamburg does well in a close mic situation as well as it is not overly boomy either.

Conclusion: On a budget the Hamburg delivers on male voice and others.

The biological twin of the Hamburg, the Vienna has more of that Austrian sound with an enhanced presence up top which delivers sheen and air. Similar to the Hamburg in tone, its like a more tuned up mic for acoustic instrument use and a better fit on many female vocals for airy intimacy. By comparison it is a cleaner, more detailed sound that still stays away from the scratchy top end of other inexpensive mics.

Conclusion: On a budget the Vienna delivers on female voice and acoustic sources.

AKG claims this is a remake of the classic 451 of yester-year, and Im sure there are technical differences between the original and this B version and you can find people arguing over them all day long. I dont own an original 451 and cannot compare, however I can tell you that this B mic has a very specific sound to it that may or may not rock your world.

It seems to have a very steady and linear increase in high frequency response, starting in the upper midrange. The closer to the top you get, the more of a boosted range I hear. This mic delivers cut and air, yet overall I dont consider it to be an edge-y sound. Strummed acoustic guitar has a familiar cut to it that is bright but not overly bright, yet a little more of a rounded almost plastic attack sound. It can sound rich on certain sources, with a touch of midrange scoop going on but the richer sound coming from the upper mids. Low end response is fairly light on the 451B, not a very full sounding mic overall.

Conclusion: This isnt any kind of balanced sound, but when building a song in context, that isnt always what you want. A very specific sound to be had here, overall Id say its worth checking out.

The 4033 was the first mic to break the under $1000 price barrier many years ago, and is still in production today. I have personally owned one for years, and find it to be a very decent condenser mic. The build quality is excellent, and the 2 micron (thin!) capsule delivers a very detailed sound for sure. There is a pad and hi-pass filter on board and it comes with a shock mount.

On acoustic guitar I think the 4033 is a great large diaphragm condenser. It delivers air and sparkle, and the pick / strum sound has a great presence to it and it delivers the metal and wood of the instrument nicely. Very full bodied, strong low end response and a full midrange, the upper mids definitely rise to bring a full presence to recordings. Ive had some success with the 4033 on guitar cabs as well. For most voices, the 4033 seemed a bit nasal sounding and I shy away from it on vocal tracking. For background vocals however, its wide cardioid pattern and presence to cut through the mix are desired.

Conclusion: Bluegrass guys like this mic for its great delivery of acoustic sources. Makes a great stage mic or room mic for small acoustic ensembles and youll find the 4033 front and center in these applications in Nashville and other areas. Recommended for acoustic sources and background vocals that need some cut and detail.

I owned a pair of these for months and used them semi-regularly on drum overheads and acoustic guitars. The build feels very nice and they never let me down. By comparison I did find some other small diaphragm condensers to replace them with a more full bodied sound, and that is where I found the 4041 somewhat lacking overall.

On overheads they dont really reach down and pull boom from toms etc. Close micd acoustic guitar there is plenty of low end response but just not a lot at a distance on drums. The low-midrange response of the AT4041 delivers the wood of the guitar nicely, but it can sound a bit boxy too. Top end is smooth but present, good cymbal reproduction and pick attack on acoustic guitars. For close micing they are certainly decent sounding mics.

Conclusion: For distant micing I found them to be a bit thin overall for my use. I like the AT4041 but found other SDC mics to offer a more well rounded response on more things.

ATs version of the FET 47 from Neumann (long discontinued), this mic really has a unique sound and is a strong offering in the sub $1000 price range. No I dont have an original around to compare with, but Ive used the AT4047 a number of times and can tell you it is a smooth and unique sound. Cardioid patterned with pad and hi-pass filtering, the AT4047 also ships with a shock mount.

This mic sounds like it has an output transformer! It has this sheen to it that is at least partially coming from it, a very pleasant sheen also. Its like theres this slightly dark yet shimmer thing happening on the top end that is subtle but vibe-y. The midrange is forward and smooth, upper mids arent overly pronounced so sibilance with vocals is not normally an issue here. On guitar cabs, drums for a somewhat darker sound, voice and acoustic instruments, the AT4047 is a vibe mic for sure but it works at least well on most things. The low end is well suited for bass instruments as its not overly accented, but reaches deep.

Conclusion: A specific sounding mic that happens to work well on lots of sources. Dont expect air or uber detail, but the AT4047 delivers some vibe and a strong midrange response that is unique.

Clean. The AT4050 is a clean, detailed and more transparent sounding mic. When you want a natural, full and linear response, it delivers nicely. The transformerless design adds to the natural sound. Multi patterned with a pad and hi-pass filter, the AT4050 also ships with a shock mount.

I think its a great pick for location recording due to its low noise and wide frequency response and detail. The 2 micron diaphragm is very sensitive to detail. For the most part I find the AT4050 to be a flat type of response mic, except there is a definite rise from the upper mids up which gives an extra brightness and presence. Female vocals, room and acoustic sources, all of these sources make the AT4050 a very decent pick.

Conclusion: When transparent with a bit of top end boost is what you need, the AT4050 delivers. Super low noise and lack of character make it more about the natural source.

I may have bought the first pair to ever ship in the USA for all I know, all I know is it only took one session to know that the ATM450 did something and did it very well: drum overhead recording (as well as close micd drums). This side address small diaphragm condenser mic (yes, if you ever see pictures I post of drums and wonder why it looks like there are 2 pencil mics pointing towards the wall rather than the drums, chances are they are ATM450s) is not my favorite on anything I will admit, and in fact on acoustic guitar I dont like the range it accents. However on drums and cymbals, they are worth having a pair around as they excel in this area.

Cymbals sound natural and present, but not overly bright either (I end up adding 10k during mix time 90% of the time). The first thing that amazed me was snare drum imaging from 3-4 out on overheads: you really hear the shell of the drum and can sort of picture it between the monitors as a very defined image. The off axis response on these mics is excellent, as is proven by the coherent left to right panning which results in a very clear image all around. My favorite placement is maybe 18 above the drummers head facing into the kit, using ORTF stereo for a nice image but mono compatibility. So I keep them sort of low into the kit, and in this position toms also have a great depth and perfect attack to them as well. When I end up compressing the drum buss, close tom mics are optional a fair amount of the time (speaking of which, their side address design make them excellent close drum mics and they do well here too).

Conclusion: A one trick pony in my opinion, but a seriously nice one. It delivers thwack and cut and image for drums. Acoustic guitar is a little too scratchy for my tastes, but they nail it on drums.

This cardioid lollipop looking mic is unique for sure. I like the minimalist approach to the look of it, there is no waste with the design: a capsule sitting in a housing on top of a body the size of a pencil mic. A lot of mic makers would likely put the same design into a big hefty body and head basket and call it a day. The SCX25A excels at acoustic instrument recording, and due to the small size placement is also easy.

Chesty low / low-mid response, articulate midrange and a natural (maybe slightly metallic) top give a very wood-y sound to acoustic sources like guitar and piano. Attack is very well defined, and harmonic content delivered nicely as well. Many sort of consider the SCX25A to be the piano mic based on its response and placement options. I have limited experience with them on piano but that experience was a good one. It doesnt get mentioned much for vocal use, but I feel it does a good job delivering size and detail, again the chest-y sound coming across nicely on a close micd vocalist.

Conclusion: Very open sounding mic with an articulate midrange, and fits in tight spaces easily? It can fill a very specific need easily in this regard.

Small, lightweight and a fairly non-reflective black paint job help the MC930 hide in the shadows if used on stage. Cardioid patterned with exceptionally smooth off axis response (read nice bleed), a hi-pass filter and -15dB pad, this mic truly excels at delivering a rich tone and air-y space in a very tight way.

On drum overheads they pull a lot of the space between the drums out, offering an air-y space around the kit. However, the off axis rejection is very strong (I have used them on drum kits that were 3 from the piano and the piano is hardly audible) and it has a very predictable pattern. The mids are gentle pulled back, and low end response is moderately good (not boomy, but full enough for anything reasonably close micd). The top end isnt exactly bright but it is detailed and spacious, yet focused.

Conclusion: The MC930 is a bit of a sleeper in my opinion, and delivers a smooth and spacious sound that is unique. For drum overheads, acoustic sources and as a room mic or on stage, the MC930 is kind of one of those cant go wrong mics from that other German mic company.

Classic BLUE appearance with the bottle / lollipop combo of sexy design happening, this cardioid patterned large diaphragm condenser delivers a focused sound and can handle high SPL sources with no issues.

The Baby Bottle is a midrange focused sound, very detailed across the center, and a fairly steep roll off of the high end but only in the extreme registers. Its kind of the anti-air sound, not dull or overly dark, but just not a very open sound. One of the few mics that can rock on electric guitar cabs, and acoustic guitars and deliver on both. The bottom end response is controlled and full without being too big, it can be worked fairly close without too much proximity effect. On vocals, again it delivers a more mid focused sound that is kind of closed on top. Drums are punchy and natural, if a bit "woody" sounding.

Conclusion: A specific sounding mic that fills a need, when you need a midrange detail without bright, airy or spike-y top end, the Baby Bottle is the one to grab.

More simple but bold styling from BLUE (hey, it matters to most!) the Blueberry is one of the most recognizable mics on the planet. A cardioid patterned large condenser, I find the Blueberry tuned for use with all sources intimate.

There is a reduced proximity effect (lower bass build up) when used at close range, enabling singers to get right on the mic without it requiring tons of EQ or overloading your preamp with low end woof. This also works great when shoving the Blueberry right up to an acoustic guitar or a drum kit. The midrange is smooth and detailed, and the top end is very silky with a sheen to it that is simply stunning. Its kind of amazing the kind of subtle but cool energy that sort of fizzes from this mic.

Conclusion: Put it right on top of your favorite source, and a smooth airy sound is yours. Vocals and acoustic sources benefit from this unique sound.

Large diaphragm cardioid condenser mic made mainly for all purpose use, this is BLUEs overseas (read China) made mic (the vast majority of BLUE products are built in California USA). You still get the classic BLUE look, and honestly I have found the Bluebird to be a better pick on certain sources vs some of their more expensive mics.

The sound is full frequency response, without as much of a specific sound to it (which BLUE is known for very specific sounding mics). It does fulfill its promise as a home or project studio workhorse. The transient response is particularly nice on things like drums and acoustic guitar, and it does have a bit of a lift in the upper mids and top end (but not bright). This can bring a vocal up nicely in a mix with a bit more cut too.

Conclusion: For an all purpose cardioid large diaphragm workhorse, the Bluebird delivers. You kind of cant go wrong with it really, as its largely even response with a bit of open top end lift and presence make it a good match for lots of stuff.

The Stage I is the solid state system, the Stage II is the tube and power supply system. Build quality is quite good, as is known from BLUE in California USA. The Stage I is transformerless and low noise, you get a fast clean response and open sound. The Stage II is a creamier, tube-y sound when you like a more vintage sort of vibe. When it comes to rich sound and versatility, I think these systems are some of the best buys around (and it utilizes the same Bottle Cap capsules that the heavyweight Bottle mic uses). The Stage I and II ships with the B8 capsule, shock mount and wooden case.

These systems are sort of what you make of it, since you have 8 capsules of different response patterns and range available beyond the stock B8 capsule. From the B0 (251 reference, big, airy, present) to the B4 (M50 reference, omni that sounds big even at a distance), B6 (C12 reference with gently set back mids and rich upper mids) and the B7 (U47 reference, dark-ish response with forward mid / low-mid and big bottom) theres lots of flavors to reach for. Recording lots of vocals? Id say a system with B0, B6, B7 and B8 would take care of most anyone who walked up to the mic. The bayonet quick swap rocks (you dont have to thread it, this is much easier and built to last) and is done on the fly.

Conclusion: For the most clarity and realism, grab the Stage I and a variety of capsules. For a creamier, somewhat softer sound the Stage II is your best bet. The Stage I is NOT a compromise because its cheaper! In fact, in most ways I prefer it on more sources. Either way I have always loved these systems and highly recommend them.

This cardioid patterned mic offers extremely low noise, and a transformerless Class A circuit that delivers snappy transient response and delicate details. The easy to use pivoting head rocks hard for placement choices. You simply cannot put a Dragonfly in front of an artist without hearing comments on how cool this mic looks too.

Drums sound finished when used on overheads. Seriously, the rich depth of a drum kit is delivered in all its glory with the Dragonfly (as are all acoustic instruments really). Paper-y snap of the snare, depth of the toms, crisp attack and tight delivery of cymbals are all there. Stringed instruments are delivered with all the fine details, the mids are gently pulled back for a very forgiving sound that doesnt get boxy on anything. The response curve fits acoustic guitar with its natural attack and full body, without overpowering midrange. For female and backup vocals, or any intimate voice work really, the Dragonfly is a great reach for its present top end and full sound.

Conclusion: The detail is awesome, without being some sterile sounding mic either. The finished sound on acoustic sources makes work easier when trying to deliver a rich acoustic recording. A seriously cool mic for not a lot of dough, a go to for drum and acoustics.

BLUEs top of the line solid state mic, it offers 9 polar patterns to choose from (!) on a nice round switch mounted on the rear. The Kiwi utilizes the B6 Bottle Cap capsule (based on the vintage AKG C12 capsule), actually 2 of them back to back to create different patterns (and tones!). There is no pad or hi-pass filter, and the mic is a transformerless Class A design which passes through transient and details very quickly and lively. It ships with a very good shock mount, and a wooden case.

The top end is fairly open with a bit of sparkle to it. There is a rich upper midrange response that is very nice on the Kiwi, present but not annoying. The midrange response is quite full and detailed. Low end is not exaggerated but certainly isnt subdued either. Overall Id say the Kiwi is a fairly balanced but rich sound, a high end workhorse mic that really does a good to great job on virtually anything. On voice it delivers throat-y singers very well, I have enjoyed the Kiwi on piano as well for its midrange presence and detail. Drums get a lot of pow, acoustic guitars have that upper mid presence that accents the pick sound nicely. On darker electric guitar cabs the Kiwi can also deliver.

Conclusion: With all these patterns available, and the rich full sound with a sparkle kind of presence to It and smooth upper mid rise, the Kiwi can bring a high end sound to any mic locker. Its sort of the definitive BLUE sound really, but more all purpose than many of their offerings.

Featuring a rotating capsule for easy positioning, this cardioid large diaphragm condenser mic looks like a little canister with mouse ears! It has a Class A solid state circuit, but also a transformer output for some low end character that the Mouse is known for.

Originally designed as a condenser mic for kick drums, the Mouse excels at delivering low end information in a big but controlled way. It really does an excellent job on kick drum, bass cabs, bass heavy orchestral instruments and more. For voice, in particular voice over artist work, the Mouse gives you that BIG sound and still allows you to work the mic closely for some intimate detail. You voice over guys should check out the Mouse for sure! Its not a super open and airy sound, it gently rolls off in the extreme upper registers.

Conclusion: Voice work its a no brainer, outer kick drum mic surprisingly it will stomp a mud hole there as well. One of the more specific sounding BLUE mics, but for bass instruments and voice artists I think you may just find your match with the Mouse.

A stand out in the $1000-ish price range, David Bock has a real winner on his hands with the 195 The cardioid pattern, FET style condenser mic features a FAT switch on board which actually changes the character of the onboard amplifier, to blast low end response to a big level from 400hZ down. The NORM switch is a much more natural response sound in the low end and a slightly lifted top end. There is a low cut switch and a -10dB pad as well.  The shock mount is less than something to write home about, not real tight fitting (edit 12-31-09: now ships with hard stand mount).

The clarity of this microphone is in its own league, regardless of price. Bock obviously worked hard on lowering distortion with this mic and it shows. However, its one of the coolest flavors of clean Ive ever heard. Its kind of glassy, and I dont mean that its not detailed, it just has this texture to it still that could not be called character in that most people associate character with distortion traits. Its a big, classy sound and things sound very real through the 195. The fat switch gives you the opportunity to distant mic things like drums (room or outer kick, wow), vocals and acoustic instruments without them sounding thin! This is a very distinct advantage of the 195, it can sound huge from a distance. The fat switch does exactly what you think it will, actually maybe a little more than I expected it to do when I first switched it on.

Conclusion: Opulent, classy, natural but somehow wrapped in a clean goodness that is hard to describe. The 195 for any studio needing a great go-to cardioid condenser FET mic for virtually all purposes seriously cannot go wrong with this flavor, which isnt a real obvious flavor at all but, well this mic is mystifying me lets say.

This electret condenser mic is supercardioid (tight) patterned, and has that classic Equitek CAD mic look. It really is a very interesting looking mic, in a sort of 414 way though. There is a -20dB pad and 80hZ hi-pass filter on board, as well as an on / off switch (not a normal feature for a solid state phantom powered microphone, but the e100 actually uses rechargeable batteries internally so it makes sense, phantom power from your preamp is actually supplying the batteries).

The e100 has a decidedly small diaphragm electret sound, on the wrong source it can be kind of scratchy sounding in the top end. On sources like acoustic guitar, it has a metallic sort of accent to the sound, more like the metal of the strings opposed to the wood of the body. The midrange is quite forward, as well as a pretty good low mid response thing going on. Very specific sort of sound that is certainly not a workhorse candidate. On vocals, like any other mic it needs to match the voice but I think overall the stronger suit for the e100 would be on instruments and drums rather than voice.  I will say that as an outside kick mic the e100 is quite accepted as a decent performer due to its tight pattern and full bottom end sound. In my brief experience with the e100, its a mic that will work well if matched with the right source.

Conclusion: Not a workhorse mic, but a candidate for specific duties. The e100 is no slouch, its just not going to please most of the people all of the time.

I dont mind telling you that Im the guy who for 2 years has been pushing CAD to bring back a unique MADE IN USA offering. As a fan of their (now discontinued) VX2 I knew what potential they had when enlisting their designers to break some performance barriers. Early 2009 I get the call: Warren, were doing it! and Ive been eagerly anticipating the e100s ever since. Now that I have my hands on them and have done a few sessions on various sources, I can tell you that the e100s is not only unique in SOUND but it is unique in several other areas (including lack of sound due to the lowest noise floor you can imagine at 3.7dBA).

The e100s has that classic Equitek sort of look to it, and the shock mount is unique and very cool (and effective). I love mics that stand out in looks, they inspire artists more than we care to admit as people who are only supposed to care about sound. There is a 1 nickel diaphragm which is very rare in the world today. The pattern is supercardioid (very tight) and has a hi-pass filter (80hZ) as well as pad (-10dB) on the face. The build quality is just superb, seriously nice feeling mic and comes in a nicer than usual wooden box.

First of all there just isnt any real self noise to hear compared to anything youve likely ever heard. The first impression I get is not only is this mic dead quiet (quiet as a mouse pissing on cotton) but that lack of self noise already gives recordings this SPACE that is absolutely unique. Sound sits in a black hole of space, the eery silence just adds a more 3D sound to what youre actually recording. The pattern is very tight, and off axis sounds are smooth and very pleasing. This can be viewed a few ways: make better recordings in less than stellar rooms OR simply back it off to allow more room in. This isnt crazy tight beyond a cardioid mic in my experience, but I welcome the directionality of the e100s.

The low end response of the e100s is more like a balled up fist, it remains tight and punchy in delivery without getting all wooly and sub-bassy. The low mids punch right along with it, very present in this range. The midrange response is smooth and sounds very linear and real to my ear. High frequency response is ever so slightly subdued, a welcomed characteristic in todays digital recording age. Seriously, top end like this is just not common among todays under $1k mic crowd. This is one of the few mics I would describe as delivering punch and butter smoothness too, nicely wrapped in that black hole of space I mentioned. I have tried on acoustic sources like drums and ac gtr, as well as voice. The e100s is the answer to those who suffer screechy top end or hard midrange sounds.

Conclusion: Using components sourced in the USA and abroad, I am proud of CAD for bringing manufacturing and design back to their Ohio USA firm. This is not some kind of me too product, it is unique and stands alone in many ways in sound (lowest self noise, using nickel instead of gold diaphragms, supercardioid vs standard cardioid) and looks (not your standard appearance run of the mill type). While I have not been able to use on everything yet I seriously cant tell you anything I think the e100s would not excel at delivering in a rich way. Highly recommended.

Hugeness times infinity, that is the sound of the e300. This large diaphragm condenser mic has 3 selectable patterns, a hi-pass filter set at 135hZ (thats a great choice for voice work, I reach there all the time!), a pad of -20dB as well as an on / off switch (not a normal feature for a solid state phantom powered microphone, but the e300 actually uses rechargeable batteries internally so it makes sense, phantom power from your preamp is actually supplying the batteries).. The size of this mic is big, trust me it gets comments when it is up on the stand. Its a monster in size and sound though. The self noise of the mic is small though, it sure is quiet.

On voice the e300 reaches deep down, and pulls out all of the chest-y low end and girth associated with BIG vocals. Voice over work and singers will love the even sound, but huge-ness that is achieved simply by working the mic. It never showed any real sibilance issues either on voice. For acoustic instruments a slightly mid / low-mid forward sound and more bigness to be had, with an even top that delivers air but isnt overly sparkly either. Drums are going to be super sized by the e300 as well as delivering lots of room detail, having multiple patterns make it a great choice for overhead or room use.

Conclusion: A seriously sizeable sound is ready to be had with the e300, one of the bigger sounding mics on the market in this price range. Id still put it in the workhorse mic category, although it does have a bit of a specific sound to it, most people do want things to sound BIGGER.

If this site had a Warrens Picks the CAD M179 would certainly top the list in its price range. I have been a huge fan of this mic for many years. The M179 is variable patterned (by that I mean it doesnt have fixed patterns but rather you use the dial on the face of the mic to choose any pattern or combination you like!) and has a 100hZ hi-pass filter and -20dB pad on board. The M179 at the time of this writing ships with both the hard and spider style shock mount from ZenPro Audio, as well as a black hard case.

Ive always thought of the M179 as sort of the poor mans C414. It has a natural sort of sound for the most part, a true workhorse in that it doesnt impose much of its own tone on the source yet still delivers a lot of detail etc. On acoustic instruments the M179 delivers a full sound, a gentle presence bump brings string sounds out nicely without being bright. The midrange is very well represented but smooth, not annoying. The low end on the M179 is very linear in response and far reaching, were talking 10hZ here. Guitar cabs it can work well, and on the right voice (read I dont think its a go-to vocal mic) it can shine.

My real love for the M179 comes in drum use, whether it is for its big beefy overhead sound that delivers the whole kit in a big wayor for its magic it works on close micd toms. Totally serious, there isnt a mic in the world that I would need to swap out my M179 for on a tom. Set to hypercardioid with the pad engaged, its heaven on earth for a big sound with a perfect attack and round bottom. The rejection is as good or better than hyper dynamic mics too, but the bleed is so much smoother (bleed matters!). The depth and attack also translates on floor and rack toms, so no more mis-matching mics for me: I get a consistent sound on every tom and I hear all of the deep tone needed for my mixes. Its also one of the nicest outside kick mics ever, big depth and round sound.

Conclusion: The ultimate affordable workhorse mic, Ive never heard an M179 sound bad especially when compared to anything in its price range. For tom-tom use however, I must say it is THE mic and kills everything else in my experience. Everybody should own one, or our very own 3 pack which covers most drum kits and so much more. This means you could use as overhead and outer kick on certain tracks etc.

This multi pattern mic (cardioid, figure eight and omnidirectional) certainly represents the all purpose mic out of the Trion series. The 6000 has a classic look to it, the feel of the mic is unique in that it almost feels like a rubber coating creates the black body / casing. The 6000 ships with shock mount and metal case.

The 6000 is a decent workhorse mic for the home studio for sure. Having multiple patterns to choose from is always a plus. Overall the tone and texture of this mic is maybe a little metallic sounding. Acoustic sources are delivered with bite and a present midrange, the top end lift certainly takes hold and is fairly bright. The low end response isnt anything huge, fairly balanced overall. It delivers a present and bright sound overall.

Conclusion: My limited experience with the Trion 6000 is that it is a somewhat bright mic that delivers high end transients rather than smoothing anything over.

The reason this inexpensive little mic is on the roster here is simple: it excels in its price range and offers a lot for low dough. Is it high end? NO! But for recordists just starting out, or somebody needing overhead mics for a live gig etc, the MXL 604 fits the bill just fine. It ships with 2 capsules also, cardioid and omni, so its got some added usefulness going on with those options.

The 604 is a decent pick for entry level drum overhead and acoustic instrument recordings. The cardioid capsule is a bit bright but not too crazy, on drum OH it accents the cymbals and paper-y crack of the snare as well as the hi-hat more than the depth of the drums. On acoustic guitar it will bring out a bit more of the pick scrape than the wood, just what you need though for a supporting instrument in a dense mix. The omni capsule is decidedly darker up top, more of a low end and midrange thing happening. The bottom gets pretty big actually, so if your room is up to snuff and you want some beefy drum recordings just pop on the omni capsule.

Conclusion: Bang for the buck I find the MXL 604 to deliver. Its a workable mic and great for beginners who only have X amount of money for small condensers.

The MXL V67G has been at the top of my $100 range mic list for many years, and it is still there. The green / gold mic has a bit of bling to it I suppose, which certainly doesnt hurt it in sales. However, its the SOUND of this mic that has always really impressed me on acoustic sources and on voice.

The V67G is a slightly darkish sounding condenser mic. I dont mean DARK, I mean its not bright which is what many expect. Still, there is kind of this vibe to it that you dont find in $100 mics. Kind of a smoky kind of sound up top. The midrange is represented well in good detail but a bit smoothed over too. Low end response is strong enough, but not real big. The mic can be worked close with no crazy proximity effect. On male vocals in particular, the V67G delivers the right sort of tone needed for all kinds of styles. On acoustic guitar, the V67G has a full bodied midrange sound and doesnt get too scrape-y sounding up top due to that slightly dark top it has. Theres a little air up top, not much but its enough and you can EQ some in if needed.

Conclusion: The MXL V67G is still a first recommendation in this price range by me. Its non-offensive and smooth sound tends to work well on lots of sources, and its kind of the ultimate home studio mic for getting lots of things done on a super low budget.

Kudos to MXL for a unique approach to microphone design, the V67i concept is a good one as far as delivering a lot of versatility from one mic. The V67G sound (which I like for its smooth, slightly darkish tone) is one side of the mic (the warm side, gotta love that wordnot!) and the other is the bright side. Its a phantom powered, transformer output mic with the classic green / gold MXL look.

The warm side seems to be essentially the V67G sound, dont know if it differs slightly or not, but its certainly in the vein of it. The bright side certainly is bright, it has a cut to it that is well, pretty cutty! Overall as a vocal mic I have to say, it seems to be a little too crunchy up top. On acoustic sources it will deliver fairly well when you need that presence and forward top. I much prefer the warm side on the V67i on most sources, but there is value in being able to twirl the mic around and select between the two when you need that sound. A small red LED lights up to let you know which capsule is active.

Conclusion: Not a gimmick, I really do think its a well thought out concept. Maybe the bright side isnt as useful to me but having the option is great. Its easy to just spin the mic around and select the other capsule and find out which works best for a source.

A sort of clone of the Schoeps mics, the CEMC6 is a small diaphragm (20mm) cardioid condenser mic that ships with hard mount and wooden box (single) or with 2 shock mounts in a briefcase style case (stereo pair) as well as foam windscreen. There is a -20dB pad on board, as well as a selectable 75hZ or 150hZ hi-pass filter. Phantom power is required. For small diaphragm mics, the CEMC6 has surprisingly low self noise (14dB). The CEMC6 is hand assembled by John Peluso & Co in Virginia, USA.

I found the CEMC6 to handle more delicate sources nicely. Jazz and light drumming are a great application for them, where you need some cut and presence. On sources like heavily strummed acoustic guitar and drums (the main sources I tested them with) they tend to deliver a more metallic sort of cymbal and string sound. Somebody commented once that they reminded him some of old Zeppelin acoustic recordings where there was a somewhat harder sort of attack sound. I agree with that statement, it definitely accents that range. The CEMC6 delivers a full low end response even from a bit of a distance, it reaches down pretty low.

Conclusion: I think its a very specific sort of sound, not exactly a rock and roll type of mic but good when that present upper midrange is needed to deliver some cut.