You can drive nails with a Shure 57 or 58. Side by side, I prefer a Sennheiser e835. It's got a hotter signal, and I use it for everything I might use a 57 or 58 on. I own way too many mics. Got a thing for transducers.

 

get any t-bone entry level big membrane condensor for voice for about 50 and one instrument sure sm 57 clone.

 

The true vintage vibe if you wanna sound like Caruso, Correli or Schreier you'll want a decent ribbon mic which is not in the present budget. The radiator idea probably won't fly, however when mixing you might use a plate reverb, or if you have a convolution reverb you could put it through an impulse response of a great sounding opera Hall. And like I mentioned yesterday, you'll want to back off of the mic a bit.

My friend Vincent is a pro opera singer and also has been recording others these last few years. He would probably be the best person to ask. He is a very nice guy and will probably answer any question you have for him. Here is one of his posted videos, the rest is up to you.

 

Lois Lane-I like the new avatar. I still think you are Clark Kent.

 

I'll tell you a secret.
Here are some "much more than decent" ribbon mics :
http://www.nohypeaudio.com/nhaproducts.htm

 

Last edited: May 14, 2019

Just get a regular old 58.

 

Line Audio CM3 and OM1

 

My 40 year old SM58 still works perfectly, even with the dent it got when as a sound man I had to throw it at a drunk audience member who tried to get onstage and piss on the guitarist. Hit him square in the head and he fell into the delighted crowd. I'll never sell it, it's priceless now.

 

Holy Moly, you Kluster fucked the drunk.

Carry on.

 

Which one do you have? The LRM_2B with the standard trafo seems the way to go.

• 
  

 

You are a Godsend

 

Yes it is, for modern music.

If you want some vintage ribbon frequency curve there is the not expensive LRM-V (I think one day or another I'll have to buy it).

For now I took the more expensive way : LRM-2b/L (with Lundahl transformer not with the standard one transfo, because I wanted linearity as possible, to sing operatic or rock as I choose to do ; I can boost later fine lively midrange frequencies at mixing if I need to, with Acustica Audio plugins or others) + Triton Audio FetHead Class A preamp, activated by Phantom power (because I don't want to accidentaly open Phantom power at an accidental push of a button and destroy the ribbon mic by doing so ; the Triton Audio Fethead serves me to protect the mic from Phantom power, more than to push the mic level, and it is clean 20dB preamplification).

This LRM-2b/L smokes the really not so bad electrostatic mics I already have, very impressive.

cracker satchmo has made some LRM-V and LRM-2b (stock transformer) nice touching recording demos, here :
https://www.gearslutz.com/board/pro...5-nohype-audios-new-ribbon-mic-out-now-4.html
...and here :
https://www.gearslutz.com/board/pro...5-nohype-audios-new-ribbon-mic-out-now-5.html

I can add that JPGerard, the belgian NoHype Audio microphones builder, is a very friendly, serious and helpful guy, he speaks english and french.

 

Last edited: May 16, 2019

The NoHype LRM-2b w/ Lunhahl xformer for ribbon (as stated above).

or

The LEWITT LCT 440 Pure for condenser.

 

+1 on the Lewitt!! I've used this mic before and it's very similar to the RODE NT1 Black!

 

I have a Fethead if it comes to it or can use a Dakng mic pre as it has enough quiet gain to pump it up. Thinking about it I will go with the Lundahl as every mic that I have heard with it in comparison is never as pleasing to my ear. Also, a few years ago I bought a device from the that allows various impedance to your chosen dynamic microphone to achieve different tones of the audio signal. It would be great to use with a ribbon, torqueing it up to the limit to squeeze out its best.

PS I DID NOT spend the $279 it is selling for as I found it on a blowout for like $60. A few friends bought the last two after me.

 

Last edited: May 16, 2019