Neumann TLM-103 Microphone Review

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(More customer reviews)This microphone picks up the nuances of vocal takes in all possible "colors" if that makes any sense as opposed to most other mics that only capture most prominent sounds possible for a microphone in this price range.
Having said that, you must realize that high end microphones means that their audio sensitivities are way up there in that they pick up sounds you never thought existed in your surroundings like the small freezer fan in the fridge downstairs behind multiple closed doors.
NOTE: If your acoustic environment "issues" are not resolved ( or untested) this microphone will open up multiple problems such as humming noises from various sources that you previously did not realize existed.
This is a very sensitive and probably one of the most acoustically sensitive microphones on the prosumer market.
I use it mostly for voice overs and it is the best mic in my studio since it really captures all the inflections that are otherwise lost (uncaptured) from other microphones within its price range. I live in a relatively quiet environment out and away from outside noises and I still struggle with acoustics so heads up to those of you who live in or nearby urban areas.
If your "voice print" is within a higher pitch range (than normal for most people) and are accustomed to a lower tone in order to inflect common narrative scales, it will get a bit of practice to get used to because with this mic EVERYTHING will be accentuated (slash) enhanced, maximized and recorded.
Some voices (particularly female)are overly accentuated due to compensation habits from using lower quality microphones.
This takes practice to adjust to but once achieved,(on the part of the vocalist) this mic is the best gadget ear you can find for the price.
I own a Rode Broadcaster and a Sennheiser 416 that I frequently use for voice overs but for a full tonal range (such as audio-book long-form narrations) this is my "GO TO" microphone.
I highly recommend that potential buyers test this microphone under various applications (whether singing or voice over narrations or what have you--extensively BEFORE buying because it has been my experience that some people simply CANNOT adjust their vocalizations to this microphone.
In other words, kick all the tires on this piece of audio gear and vocally "test drive extensively" before deciding on purchasing lest you end up disappointed for reasons unrelated to the gear itself.
I for one am supremely pleased and consider myself a very PROUD owner of this incredibly versatile microphone for any and all applications so long as all other elements of a recording atmosphere are commensurate (i.e. equal to) its capacities.
If you have an acoustically sound environment suitable for your recording needs then this is a MUST piece of gear and DO NOT be fooled by lower priced alternatives from people who have not experienced "true" quality in said category.
This is not a Volkswagon but rather a Mercedes in a whole different class.

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Ideal for all professional and semi-professional applications requiring high sound quality on a limited budget. The TLM-103 uses the transformerless circuitry found in numerous Neumann mics and a capsule derived from that used in the U87. Cardioid pattern, acoustically well-balanced, and provides extraordinary attenuation of signals from the rear. Frequency range: 20Hz-20kHz. Impedance: 50 ohms.ApplicationsDue to the universal cardioid pattern, straightforward handling, extremely low self-noise level, and finally, the price, the TLM 103 is predestined for all demanding applications from home recording to professional broadcasting and commercial recording studios.Acoustic featuresThe TLM 103 is addressed from the front, marked with the red Neumann logo on the microphone body. The K 103 large diaphragm capsule is based on the K 87, well known from the U 67/U 87 microphones. The capsule has a flat frequency response up to about 5 kHz, and above that, a wide flat 4 dB presence boost. The large wire mesh headgrille protects the capsule from explosive sounds and effectively prevents pop noises. These characteristics are achieved without resorting to corrective resonance effects. Therefore, the microphone maintains an excellent impulse response and reproduces the finest details of music and speech without coloration.Electrical featuresWith just 7 dB-A / 17.5 dB CCIR the self-noise level of the TLM 103 is so reduced that even the smallest signals are reproduced basically noise-free. As it is capable of handling sound pressure levels up to 138 dB without distortion, the TLM 103 provides a dynamic range of 131 dB, according to DIN/IEC 651. The letters TLM stand for "transformerless microphone." With TLM technology the usual output transformer is replaced by an electronic circuit. As with traditional transformers, it ensures good common mode rejection, and prevents RF interference that may influence the balanced audio signal.Operational safetyThe entire internal construction i

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AKG PERCEPTION 420 Professional large-dual-diaphragm true-condenser microphone with switchable polar patterns. Review

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(More customer reviews)I picked up a pair of these when they came out and they've done the job quite well as backup mics. They don't have the magical sound of premium microphones (my primary mics cost me a LOT more money), but they offer a rich feature set and sound pretty decent. I do primarily live classical recording, and I've used these both as spots and as a secondary main pair.
In a world full of cardiods, many beginning recordists are unaware of the effectiveness of other techniques. Multipattern mics let you easily experiment with both M/S (Mid-Side) and Blumlein recording. In a nice room, spaced omnis can also make the recording feel more natural. These mics are perfect for performing that sort of experiment, and they'll give you a result that you won't be ashamed of.
I should also point out that the shock mount that comes with this mic is very nice, as is the carrying case. In the last few years, we've had a flood of inexpensive microphones. Some are good and some aren't. These are good.

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Gibson Les Paul Custom Electric Guitar, Ebony Review

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(More customer reviews)I lost all of my electric guitars in Katrina and figured I owe this review to offer shopping suggestions to everyone looking to replace thier guitars. I am a former professional musician and really only play now as a hobby. I decided to replace my Gibson SG that was lost in the flood with the "Rolls Royce" of all guitars: the LP Custom. Here is what I think of it:
Of all the items I have reviewed on Amazon, the LP Custom has to be the most difficult for several reasons. First, since it is a handmade guitar, the buyer should know that no two will be exactly the same. On the same day I bought mine, for example, I noticed that the one right next to it on the wall had a sixth string groove that in the nut that was situated too close to the top of the fretboard. I also played several other custom shop models that had similar quirks, including the Jimmy Page Custom (which has a neck like a Kramer and the body of a Les Paul...yes, it's ridiculous).
Second, because my playing style is hard picking mostly, I don't know if everyone would agree with what I have to say about the action on this guitar, but it was the deciding factor in my selection. The all-black/gold Custom I picked had just a bit more resistance to "digging" than the others I tried (then again, I learned to play on a Sears and Roebuck special). Still, all the LP customs have ebony ("fretless") fretboard wire; and when the action is set right the guitar seems to "play your fingers".
Anyway, assuming that you can find one of these LP customs that has off-the-shelf action that fits YOUR playing style, the sound of the heavy cruiser will take you away. This axe has a 3-ply maple top with a mahogany bottom. You can tell its very high quality wood by the way the strings resonate.
Notes "wobble" and "swell" after being plucked even when the guitar is not plugged in. The sheer weight of the bottom guitar seems to make the neck (which is relatively thin on a basic custom)much more vibrant and responsive than it is on a single slab guitar. Since this tonal quality is coupled with a natural resonation in the ebony fretboard, the player can squeeze every ounce of juice out of a single note. Also, this resonance quality works well to enhance spooked notes in arpaggio sweeps. As as result, the LP custom can be suited out as a digitalized metal cruncher or a acoustic jazz box
The sound quality and feel give the basic LP custom some big plusses. You will also notice a change in your playing prowess from the responsive fretboard. However, there are a few small minuses that first-time high-end guitar buyers should be aware of.
First, the basic Custom is the plug-ugliest looking guitar in the world. There are only 4 color selections (Black, White, Narural and Red). The gold humbuckers on the Black Beauty only seem to make it look gaudy to me. But, again this is subjective.
Second, the basic customs come equipped with standard Gibson Alnico Humbuckers. Although these pups blow doors on most humbuckers, the clarity of the 3rd and 4th strings tends to get buried when the guitar is phased and flanged through a tube amp and there is a low note ringing. I'm going to try putting in a burstbucker to solve this.
Another obvious drawback to the guitar is the weight. Playing this guitar standing without staplocks is crazy. It is killing my lower back. If you're going to gig with this axe, drink plenty whiskey and take some cortizone. I suppose this is another price to pay for that solid mahogany sustain and tone!
In retrospect, I love this axe, but wish that I would have looked harder at the Les Paul Custom Class 5. I've heard they are about a thousand more, but I didn't come across one in any stores. Those come in many different colors and are outfitted with burstbuckers off the shelf. Also, they have chambered mahogany bodies that are supposed to make them weight-relieved. Still, I wonder if they could achive the same sustain and tone?
Rule #1 is to always make sure you can return the guitar if you find a defect! For the price of this one, you should have perfection!
Regards
Valjean


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The introduction of the Les Paul Model in 1952 provided the fundamental template for the design of what would eventually become the most revered stringed instrument in the world. Today's Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments.

The Incomparable Les Paul Custom Guitar
HistoryThe introduction of the Les Paul Model in 1952 provided the fundamental template for the design of what would eventually become the most revered stringed instrument in the world. Yet Gibson president Ted McCarty and the guitar's namesake, Les Paul, also sought to introduce a "deluxe" version of the soon-to-be iconic model. The final design for the new Les Paul Custom was completed in early 1954, and the guitar made its official debut at the Chicago NAMM show in July 1954.
Initially, the goal had been to introduce the "deluxe" version in conjunction with the original 1952 Les Paul, yet Gibson's drive to achieve excellence resulted in several unexpected delays. The final product, however, would eventually become Gibson's top model in the original Les Paul line.
The 'Fretless Wonder' The first version of the Les Paul Custom was nicknamed the "Fretless Wonder" for its low frets and "Black Beauty" for its rich, contrasting ebony color. It was also introduced at the same time as the Gibson Les Paul Junior and represented the ultimate in Gibson solid body design at the time, with an original price tag of just $325, which was $100 more than the regular Les Paul Model.
Aside from its obvious visual enhancements, the Les Paul Custom was the first Gibson guitar to offer the revolutionary ABR-1 Bridge, which was invented by McCarty. This pioneering achievement was a true revelation in intonation and remains one of the most revered and copied pieces of guitar hardware ever developed, setting a standard for simplicity and functionality that has never been bettered.
Other standard appointments included a thicker body design and seven-ply body binding on both the front and back of the guitar, along with a multi-bound headstock that featured a prominent five-piece split diamond patterned inlay of genuine mother of pearl--a design that still graces every Les Paul Custom made today.
Near-perfect Recreation Today's Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments. The body of the guitar is crafted with a hand-carved maple top, which is then fitted to a body made from a solid piece of mahogany with strategically routed holes to lessen the weight of the guitar, resulting in a Les Paul with enhanced acoustic qualities and improved resonance. The 24-3/4 inch scale length neck is also made from one solid piece of mahogany then topped by a 22-fret ebony fingerboard outfitted with figured acrylic block inlays, and given Gibson's traditional rounded profile. The pickups are Gibson's 490R in the neck position, which offers the tonal characteristics of the original PAFs, and the 498T in the bridge position, which swaps the 490R's Alnico II magnet for an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs.
Other appointments include Gibson's legendary Nashville Tune-o-matic bridge and stopbar tailpiece, metal tulip tuners, multi-ply white and black binding on both the top and back, gold hardware, and a 1 11/16" nut width. The Les Paul Custom is available in Antique White, Ebony, Heritage Cherry Sun Burst, Wine Red and Silver Burst, and each guitar comes with the standard Gibson Custom case, custom care kit, and certificate of authenticity.
Nitrocellulose Finish Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can't do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not "seal" wood in an airtight shell--as a poly finish does--and allows the wood to breathe and age properly.
All VOS (Vintage Original Spec) series guitars will use a proprietary process that includes unique steps for staining, wet-sanding, and hand-rubbing; subsequently the guitars reflect what a well-cared for 40-year-old guitar looks like. The result is a remarkable patina that will delight even the most discriminating enthusiast.

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Gibson Faded Les Paul Special Electric Guitar with Humbuckers (with Gig Bag) (Worn Cherry) Review

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(More customer reviews)This is simply a great guitar. While it doesn't have the sheen of a highly clear coated guitar, the warmth of the cherry finish along with the wood grain makes for one cool look. I don't know about the other fadeds, but this one has a relatively even finish.
The humbuckers are hot and the fingerboard is fast. I haven't experienced any string buzzing. I may tweak the action down a little though. If I were Gibson, the only thing I'd change is the back of the neck. Feels a little grainy because of the satin finish. Doesn't impede the playing...just takes some getting used to.
I play a regular gig and have decided to bench my strat in favor of the Les Paul. While it doesn't have a carved top and it may not be as pretty as a Les Paul Standard or Custom, this is a nice guitar for the money.

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Gretsch Guitars G5265 Jet Baritone Electric Guitar, Black Sparkle Review

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(More customer reviews)The Gretsch Jet Baritone is a long scale solid body electric guitar that comes setup as a bassVI out of the box which while interesting isn't nearly as cool as a true baritone electric guitar.
BassVI? Baritone?
What's the difference you may ask? A bassVI is essentially a six string electric guitar with a longer scale that is tuned an octave below a standard electric guitar making it a six string bass. It uses lighter gauge strings than a traditional bass but still too heavy for barr chords and is too muddy for chording anyway. A baritone on the other hand is tuned from B to B and uses strings somewhere in-between those used on a bassIV and and a standard electric guitar. A set of light gauge electric baritone strings will be from .062 for the low string to .013 for the highest. (D'Addario Electric Baritone Guitar EXL158)
Converting From BassVI to Baritone
To convert from bassVI to a true baritone entails changing the strings, adjusting the neck tension, reintonating the guitar and raising the pickup heights as these smaller diameter strings need to be closer to the magnets to get the most out of the guitar. This sounds like a lot more work than it actually is. I'm an intermediate at guitar tech work at best, and was able to do it in about an hour and a half. The truss rod adjustment on the headstock is done with an allen wrench and was a breeze to do as you don't need to detune the guitar or remove the pickguard as with some instruments. If this all seems too intimidating it is easy work for any guitar shop's tech.
A Couple Of Notes On Restringing.
There were a couple of issues with restringing the Jet. First the D'Addario EXL158s were barely long enough to fit on this beast. At first I was afraid the 3rd string wasn't long enough to use but it was... b a r e l y. The second is the way the strings attach to the Bigsby Tremelo bridge. There are small straight posts that stick out of a round bar that the strings wrap around. At first I couldn't for the life of me get the strings to stay in place while I was trying to tighten them. I finally found that if I pre-bent the base of the string at the ball end with a pair of needle nose pliers into the approximate shape of the bar they wrap around, they then easily held on until there was sufficient tension for them to stick. All of that said, it has worked well and I haven't had any problems with the strings staying in tune.
Is It Worth All That?
So, what is it like to play and is it worth the money and the work to convert it? Absolutely. The Jet is a joy to play. The neck is really nice and doesn't take anymore finger pressure that an acoustic to get a great tone. It has 2 mini humbucking pickups that share a single volume and tone knob to good effect along with a 3 position toggle switch for pickup selection. With a bit of reverb and tremolo it becomes the biggest clean guitar tone you've ever heard. Huge and clear. For recording it's a voice that sits in it's own pocket with plenty of room for standard guitars above and traditional bass below. That said, I have done entire recordings with just this guy and they sound fantastic. I use the tremolo just for subtle effects and haven't had any problems with it throwing the guitar out of tune. Using it for dive bombing will throw it out of tune but this is a known problem with all Bigsby tremolo bridges.
Would I buy this guitar again? Yeah,In a heartbeat.

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Cordoba 55FCE Acoustic Electric Classical Guitar Review

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(More customer reviews)I play an assortment of acoustic styles, Gypsy Jazz, Bossa Nova and I occasionally accompany my wife on her Flamenco performances. I was looking for a guitar suitable for all three styles that I could just plug in and retain some control over my sound.
The Cordoba 55FCE meets these requirements rather handily.
First the neck is just perfect. Wide enough to enable clean chording but narrower than a traditional classical or Flamenco guitar. Very low action. In general a very clean quality fit and finish. Aesthetically just gorgeous.
All around very comfortable to play.
The electronics are just amazing. Between the EQ, piezo pickup and on-board mic I can find a variety settings that fit my styles. The ability to blend between the peizo and mic allow me to just nail the tone I need.


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Gibson Les Paul Studio Electric Guitar, Worn Brown Satin Review

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(More customer reviews)Let me first say I have played for many years, with a band that mostly records, but plays out a handful of times per year. My main gear is a marshall tube combo, some boutique pedals and an early 80's american tele.
I was intrigued by the gibson les paul sound so after along search I bought a used 01 pewter studio. I was drawn to its heft and playability. Something was not right, after months of playing it I realized the pickups were hotter than I wanted. Before I bought this pewter studio, I had tried out a lot of guitars, and played a few worn mahogany les pauls, but I was always repelled by the lack of finish, the frets were rough, the neck was sticky, it was generally not-player friendly like the nicer rare studio was...
but I happened to be in guitar center trading in an amp i din't want when I played a used vintage worn brown les paul and fell in love; the pickups are warm as hell, the neck was shiny and smooth, the frets were perfect; I realized all it needed before was breaking in! I love the guitar, especially the neck pick up, which can be very bassy if you are not careful, but has a sweet singing tone for solos- and is worth the price.
If you want a nice les paul, and you don't want to fork over 2k plus for a standard or goldtop with p90s, skip the studio and go for one of these worn models- they use essentially the same materials, and all the savings come from wood choices associated with cosmetics and extensive finishing.


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Some guitar players like the look and feel of a shiny, brand new guitar. Others, however, prefer the look and feel of a timeworn instrument--a guitar, without the sheen, that looks a little used, and has a smooth, worn look to it. For these players, there is the Les Paul Studio Faded from Gibson USA, which lets you see and feel the wood grain's natural beauty. And just like its brother, the Les Paul Studio, the Les Paul Studio Faded offers up breathtaking Les Paul performance in a modern, no-frills package that's sure to please even the most discriminating players.

Pure Les Paul Swagger in a Modern, No-Nonsense Package.
Fast & Comfortable Rounded Neck Profile Gibson's traditional rounded neck profile, which graces the neck of each Les Paul Studio Faded, is a thicker, rounder profile, emulating the neck shapes of the iconic Les Paul Standards of the late 1950s. Each neck is machined in Gibson's rough mill using wood shapers to make the initial cuts. But once the fingerboard gets glued on, the rest--including the final sanding--is done by hand. That means each neck ends up with ever-so-subtle differences that make each one as exceptional--and unique--as the next.
Gibson's Burstbucker Pro Pickups Gibson's drive to recapture the magic of the original "Patent Applied For" humbucker pickups of the 1950s culminated with the introduction of the Burstbucker line in the early 1990s. Those Burstbuckers--Types 1, 2, and 3--successfully captured the subtle variations of true, classic humbucker tone with historically "unmatched" bobbin windings and Alnico II magnets. In 2002, Gibson followed up this innovative accomplishment with yet another breakthrough in pickup design--the Burstbucker Pro, designed specifically for the new Les Paul Standards. The Burstbucker Pro features an Alnico V magnet (instead of the Alnico II), which offers slightly higher output and allows preamps to be driven a little harder to achieve a more natural break-up. Like all Burstbuckers, the Burstbucker Pro has asymmetrical coils--true to the original PAFs--which supply a more open sound. The Burstbucker Pro Neck is wound slightly less than the original PAFs, while the Burstbucker Pro Bridge is slightly overwound for increased output. The Burstbucker Pro pickups are also wax potted to allow loud volume pressures with minimal feedback. As with all Gibson pickups, every part is precisely manufactured at Gibson USA in Nashville, Tennessee, insuring tight, seamless fittings, and superior workmanship.
22-Fret Rosewood Fingerboard Rosewood fingerboards and trapezoid inlays have been a mainstay feature on Les Pauls ever since the model's introduction in the 1950s, and the fingerboards on Gibson's Les Paul Studio Faded are no different. They are constructed from the highest grade rosewood on the planet. Each piece of wood is personally inspected and qualified by Gibson's team of skilled wood experts before it enter the factories to be fitted onto the necks. The resilience of this dense and durable wood makes these fingerboards extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. Additionally, the 12-inch radius of the fingerboard provides smooth note bending capabilities and eliminates "dead" or "choked out" notes. The traditional trapezoid inlays are made of figured acrylic, and offer a classic "pearl" look. They are inserted into the fingerboard using a process that eliminates gaps and doesn't require the use of fillers.
Mahogany Back and Top There isn't anything more critical than the matching of the Les Paul's mahogany back with its mahogany cap, as well as the regimen involved in selecting the right wood and the formula to dry it out. First, the wood is personally inspected and qualified by Gibson's team of skilled wood experts before it enters the Gibson factories. Inside the Gibson factories, humidity is maintained at 45 percent, and the temperature at 70 degrees. This ensures that the wood is dried to a level of "equilibrium," where the moisture content does not change during the manufacturing process. This guarantees tight-fitting joints and no expansion, and controls the shrinkage and warping of the wood, in addition to reducing the weight. It also improves the wood's machinability and finishing properties, and adherence to glue. Consistent moisture content means that a Gibson guitar will respond evenly to temperature and humidity changes long after it leaves the factory.
Chambered Body There's something about playing a guitar with perfect tone, balance, and weight. One of the ways the expert craftsmen at Gibson USA achieve this equilibrium is by carving carefully mapped-out chambers in the Les Paul's solid mahogany back using a Computer Numeric Controlled (CNC) router before the mahogany top is glued on. The positioning of the routes was established after careful examination of the resonant characteristics of the Les Paul. Gibson approached this process with the awareness that every change to the formula would have repercussions on the instrument's sound. So, in addition to relieving the stress on a player's back and shoulder, these lighter Gibson guitars also enhance the tone palette in a manner unique only to these guitars. The results are comfortable, lightweight guitars that are acoustically louder, with increased sustain and resonance.

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