Andy recently brought down a couple microphones for us to review for Tape Op: an SE Z3300 large diaphram FET condesner and an SE 3 stereo pair from SE Electronics. I had the chance to use our new microphones this morning during a live session with A Hawk and a Hacksaw.
The instrumentation was an accordian and violin – no vocals. My better judgement told me to first try one microphone, maybe the Z3300 in a figure-8 pattern, but I was too eager to try both. The Z3300 went to the violin, about 15 inches to the players’ right side and at forehead level. The SE 3′s were placed about two feet away from the accordian’s keyboard.
Coupled with our new Samson monitors, the highs and upper mids were almost too much for my taste. The SE 3′s have a 5dB bump around 10k, which I thought was very noticeable. However, I’m going to have to get used to these monitors in different recording situations before I can really form qualified opinions. The noise level was very low for all the mics.
Anyway, feel free to have a listen in the archives. The performance began around 9:15, right after the concert report. I also recorded each microphone on a separate track in the ProTools session, so you engineers can audition each individually (route them to the optical outputs in ProTools and they should come into the board on tape channels 1-8).
I am considering purchasing a SE z3300 A for my home rec-rig. I am pleased to hear good things about this mic but want to explore other options. Currently I have a pair of Oktava Mk-012 cardioids. Love em great mic, great price. I’ve targeted the 3300 because I like the polar patern choices and the $500 price range. Any suggestions for other vocal/large diaphragm mics?
Sky
Hi Sky,
After living w/ the SE z3300 for a while, I *really* like that mic. As for LD condensers we also have a Shure KSM-27, you can try others in the KSM series.
I do think the SE is really good mic, and super-versatile. I’ve used it as both a Kick mic, and a mono drum overhead, with excellent results. And the vocal tracks I’ve recorded with it came out really, really great.
If you’re interested in dymanics, check out the EV RE-20, and the Shure SM-7. Both in the price range, and good on vocals.
Six months late on this but whatever, I’ll throw it up for posterity.
I’m a big fan of the z3300, so much that I rarely bring out our KSM-27 for anything but stand-up bass or similar applications these days. It’s super-clear, lacks the KSM-27′s annoying low-end boost, and has a presence peak that changes subtly with different polar patterns. You can set it up in omni mode, arrange any number of musicians around it (making sure they’re the correct distance away), and it will pretty much just give you a solid recording without any additional work on your part. We don’t have another mic in our arsenal that can claim that.
The RE-20 has become my favorite vocal mic in our collection lately, and I’d kind of like to get a second one since it’s also our go-to bass cabinet mic. It’s very detailed for a dynamic and has minimal proximity effect; I’ve had really great luck recording soul and other vocal-driven stuff with it.
The SM-7 is even nicer-sounding, but has kind of a weird design (the element is always at least 2-3 inches from the source) that limits its usability in live situations. If you’re not working within that constraint though, it’s pretty hard to argue with.
I’d also recommend the electro-voice RE-10. It’s basically a much-improved SM57/58, with a subtle, unique midrange presence peaking at ~2KHz and none of the ugly harshness of the Shure mics. It’s great on female vocals, absolutely unreal on Fender guitar cabinets, and pretty sweet above or below a snare. Unfortunately it’s not made anymore, but we’ve been able to pick up a few on eBay for $75-100 each without much digging. Hard to do better in anywhere near that price range if you want an interesting, versatile dynamic mic.