Next article: How to get into music with no musical ability...
Would you buy this mic for $10,724?
Vintage Neumann M49 microphones don't often come up for sale, but there's one on eBay right now. And there are lots of lovely photographs (drool!)...
Follow RecordProducer.com on Twitter...
Are vintage microphones worth the kind of money they cost? Well I've tried quite a few and compared them with modern microphones. I can give you two answers...
1. Some vintage microphones sound so amazing that they would be worth almost any money.
2. A vintage mic valued at $10,000 might sound amazing, but I would have to wonder whether it actually sounds $9000 more wonderful than a modern $1000 mic.
There's a vintage Neumann M49 for sale on eBay, as a Buy-It-Now rather than an auction. The seller wants £7195 UK pounds for it, which equates to $10,724.15 at eBay's exchange rate.
We don't have any connection with the seller, other than we asked permission to republish the photographs.
Bearing in mind that the sale could end at any time, and that eventually the link will expire, you can view the sale here...
And here, for your convenience, are those lovely photos...
So do you want to buy it?
Well one problem might be that you don't actually know what it sounds like.
I can tell you from experience that different examples of supposedly identical vintage microphones can sound very different to each other. Well, that's what you would expect after half a century of use.
The seller does say that returns are accepted but it would probably be polite to mention it to them if you plan on buying then trying, and possibly returning.
But you might not particularly care what the mic sounds like, as long as it works of course.
What? You don't care what the mic sounds like???
No, not particularly, if you plan on using it as an attraction to your commercial studio.
If you run a studio for hire, a collection of great mics is always a good marketing tool. And really, unless you have one indisputably classy mic, you can't say that you have a top-class studio.
OK so it's time to take action. What's it to be - buying? Or merely drooling at the corners of the mouth?
Publication date Monday April 05, 2010
Next article: How to get into music with no musical ability...
Enter your e-mail address to receive notifications of new comments on this topic...
(You can unsubscribe quickly and easily.)
(You can unsubscribe quickly and easily.)
Discussion on this article's topic...
Jim Hamilton, Philadelphia, U.s.
Excuse me. A decent m-49 on 85% of the worlds upright bass's cannot be beat. I had one on loan for a couple of years and could'nt afford to buy it from my friend. I miss is so. Also, all of these recording we love so well, "KIND OF BlUE" etc etc. look at the photos. Its not just that but it is a major part of what your hearing.
Saturday April 17, 2010
Hello Jerry, Hello Noimann, Phila, USA
most artists don't know about mics anyway. i'd never spend 10,000 bux on an old neumann when there are so many 1,000 dollar or less noimans out there that are awesome. plus its not going to magically make me a good producer. and no one will listen to the record and say "oh, must have used an old expensive mic, he/she is awesome!" they will not even know but maybe hopefully just feel, perhaps a good performance. plus, things are getting better at the low end of audio gear where you dont have to spend a whole lot of money on one thing.
Friday April 16, 2010
Dv, Asheville, Nc, USA
Yeah, but what if you had the chance to record with it? You might not be able to afford it but somebody can. Aesop sure was right, those grapes(mic) sure are sour.
Wednesday March 31, 2010
Arntapfus, Harare, Zimbabwe
thats too expensive,its beter too buy new staff for less
Wednesday March 31, 2010
Aj , Los Angeles, USA
I have worked with many mics (AKG 414, peluso 2247, u87ai, etc...) A mic is like a cymbal to the jazz musician, sometimes the dirt that collects on the cymbal takes years to build up but at the end no one else has a sound like the one you have inherited through patience and opportunity. Yes there are new mics that have newer technology, but is new always better? (Old -wave, new - MP3) Recording is an art and this mic represents a paint brush for coloring! When old and new technology are combined many times the product is enhanced!
Videosymphony.com
Videosymphony.com
Monday March 29, 2010
Ze Renato, Sto Andre - Sp, Brazil
I have a U67 Neumann mike, it has an amazing sound response, but I have other mics (cheaper) and very good, if I´d intend to sell it I will ask about U$7.000,00 and people who could buy it would use to put it behind the glass for showing it, not to record with it, it´s like an old 30´s automobile, there are so many good and cheap mikes today under U$1.000,00, many people don´t mind it, it´s just a glamourous thing.
Monday March 29, 2010
3n3rdy5t4
Warning: Do not press the "buy now" button by mistake while logged in on ebay!
Monday March 29, 2010
Drew, Kc, Mo
Of course, vintage gear tends to hold it's value, if not going up, where as new loses half the minute you open the box....
You'd likely get your money back at least..
You'd likely get your money back at least..
Monday March 29, 2010
Drew, Kc, Mo
I'll buy it with YOUR money. But if it's MY money.... well as a business man the only reason to have most real expensive microphones in reality, is to impress clients with how expensive they are.
David has done numerous blind tests, as have I, and truth is, a good old sm58 is very often the best choice.
In this business "snob appeal" is a huge, although not often talked about fact of life. Clients often pick a studio based on how expensive their equipment is (or looks) not the quality of the work turned out. There is a big studio here that has a big SSL console and a bunch of newbie "engineers" that charges ridiculously high rates, based on bells and whistles. I have fixed many of the projects they turned out.
The old saying is "Sell the sizzle not the steak."
David has done numerous blind tests, as have I, and truth is, a good old sm58 is very often the best choice.
In this business "snob appeal" is a huge, although not often talked about fact of life. Clients often pick a studio based on how expensive their equipment is (or looks) not the quality of the work turned out. There is a big studio here that has a big SSL console and a bunch of newbie "engineers" that charges ridiculously high rates, based on bells and whistles. I have fixed many of the projects they turned out.
The old saying is "Sell the sizzle not the steak."
Monday March 29, 2010
Dan Nims, Eugene, Oregon, USA
Yes, drooling over such a fine example of old technology is appropriate. In reality, most recordists would agree that if you 'had' the 10 grand to buy it, the same money would be better spent on the 'good stuff' that's new.
See www.lawsonmicrophones.com for a reality check.
See www.lawsonmicrophones.com for a reality check.
Monday March 29, 2010
Sige, Brenham, USA
Funny, I saw it on ebay and copied the photo's for myself already. I personally waiting for a Peluso version. My 22 251 is amazing. If anyone out there can do it, Peluso probably can. He just may not know it yet.
Monday March 29, 2010
Sean Kenny, Maidstone, England
A mic is just one of many variables in any signal chain.
Whilst these mics are undeniably wonderful there is a huge law of diminishing returns on an investment like this. Conversely huge improvements can be made by changing adjusting or moving a mic or moving a sound source within a room or retuning/ adjusting playing style, gauge of strings, weight of plectrum or sticks etc etc..... No amount of gear will fix a poor sounding instrument or a poor vocal performance. Give me a great sounding kit recorded with run of the mill mics any day.
Sure I don't have the available funds to buy one of these mics, but if I did, I probably wouldn't.
I believe in progress and there are plenty of good mics out there that will do a great job (if used properly) of capturing a great performance by a great band with great songs (now there's the catch!)
As for commercial appeal, gear attracts the people who don't appreciate that it's the guy using it that's more important.
Good luck
Regards
Sean Kenny
Ten21 Recording Studio
Whilst these mics are undeniably wonderful there is a huge law of diminishing returns on an investment like this. Conversely huge improvements can be made by changing adjusting or moving a mic or moving a sound source within a room or retuning/ adjusting playing style, gauge of strings, weight of plectrum or sticks etc etc..... No amount of gear will fix a poor sounding instrument or a poor vocal performance. Give me a great sounding kit recorded with run of the mill mics any day.
Sure I don't have the available funds to buy one of these mics, but if I did, I probably wouldn't.
I believe in progress and there are plenty of good mics out there that will do a great job (if used properly) of capturing a great performance by a great band with great songs (now there's the catch!)
As for commercial appeal, gear attracts the people who don't appreciate that it's the guy using it that's more important.
Good luck
Regards
Sean Kenny
Ten21 Recording Studio
Monday March 29, 2010
Ce, Hamilton Sq., U.s.a.
Modern mics have certainly improved on what was used in the past. Lower noise floor, more reliable, why not NEW Neumann, Telefunken or an AKG, they mimic the original sounds, with modern features and reliability. Sometimes old is just OLD, "vintage" adds legitimacy to it?
Monday March 29, 2010
Shelter Studios, Schaffhausen, Switzerland
Wonderful piece of nostalgia and just
the sort of thing to have around as a
key exhibit in a museum.
Using a vintage mic for commercial work
in this day and age is more likely to
cause a loss of credibility with some customers, many of whom were born long
after some mics went end of life.
Spending $10K+ on a microphone needs a
lot of justification and is unlikely to
yield an acceptable ROI. For those who
are blessed with having more money than
sense it could be an excellent way of
losing some cash but, no more than that.
the sort of thing to have around as a
key exhibit in a museum.
Using a vintage mic for commercial work
in this day and age is more likely to
cause a loss of credibility with some customers, many of whom were born long
after some mics went end of life.
Spending $10K+ on a microphone needs a
lot of justification and is unlikely to
yield an acceptable ROI. For those who
are blessed with having more money than
sense it could be an excellent way of
losing some cash but, no more than that.
Monday March 29, 2010
UPDATE - Posting of comments has been disabled. RecordProducer.com has been targeted by a botnet posting spam comments. The facility to post comments will return when this problem has been resolved.
We welcome your addition to the discussion on the topic of this article. If you feel that the article is inaccurate in any way, please let us know by e-mail at . We read all messages sent to this address but we cannot promise a reply.
 |
Sometimes the sound of the electric guitar doesn't quite cut it. But there are ways you can make the guitar sound like more than it is. Much more... Read more... |
 |
An RP reader successfully lands an internship in a major recording studio. But the kind of work he is asked to do isn't quite what he expected... Read more... |
 |
Everyone should build a loudspeaker at least once in their life. But for this would-be loudspeaker builder, their first attempt was something of a disaster... Read more... |
 |
Do music business lawyers always know what they are doing? Or could they ask you to sign a contract that would not stand up in court? Read more... |
 |
A RecordProducer.com visitor asks whether a good analog-to-digital converter is necessary. Or will any old converter do? Read more... |
 |
You've got your recordings in hand, you've done your networking and have finally made contact with that one industry professional that can help you launch your career... then here it comes, "I need you to send me your multitrack files so I can remix it." Now what do you do to make that happen? Read more... |
 |
If you don't back up your data, then you are headed for sure and certain disaster. It's a question of 'when?', not 'if?' Read more... |
 |
Having trouble with your recordings? It could be that your preamp simply doesn't have enough frequencies! Read more... |
 |
Leaving aside questions of color and pattern, what type of carpet works best in a recording studio environment? Read more... |
 |
Where do you make your production decisions? In the studio? No, there's a better place than that, somewhere you can get some peace and quiet... Read more... |
 |
Low-pass and high-pass filters often have a 'slope' control. What is the slope of a filter? How do you select the right slope? Read more... |
 |
Whoever designs microphones clearly thinks that they all should be microphone-shaped. But isn't it about time we had something more appropriate to the way we use them? Read more... |
 |
'If you don't ask, you don't get!' That's a good old proverb. But have you asked anyone recently? This guy has... Read more... |
 |
Do you still use DAT? CD recorders? Outboard effects units? Come on and admit it - you're a dinosaur! Read more... |
 |
You don't need years of music theory training to write for an orchestra. If the sounds are in your head, technology can get them out. Read more... |
 |
Copyright might be good for a few rich musicians, but is it good for music? In this video, we see how not having copyright might actually be the best thing for music perhaps since notes were invented. Read more... |
 |
A good drummer is worth his or her weight in platinum. But how can you know for sure just how good they are? Read more... |
 |
Jamhub is a totally new concept - a rehearsal amp for the whole band. RecordProducer.com asks inventor Steve Skillings all about Jamhub - what it does, where the idea came from, and why you should want one. (There's a prize too!) Read more... |
 |
Some microphone and instrument preamplifiers have a variable impedance selector. What kind of difference will it make to your sound? What are you missing if you don't have it? Read more... |
 |
Are you guilty of recording cliches? Do you do things because you've seen other people doing it like that? Or do you decide for yourself what's best? Read more... |
You Could Be Making PRO Recordings In Your Home Recording Studio...
Music Production and Sound Engineering Online Course.
Turn your home recordings into
PRO recordings in just 12 weeks.
Sign up now for the FREE COURSE TOUR!
The Charlotte Roel Microphone Test at Abbey Road Studio 3
Hear nine classic and modern microphones on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include classic tube Neumann U47 and AKG C12 mics, plus five other amazing mics you NEED to know (some costing as little as $300!). PLUS video recordings of all of the tests. The Charlotte Roel Microphone Test at Abbey Road Studio 3
The Insider's Guide to Working in a Pro Recording Studio
Have you ever wondered what it's like to work in a PRO recording studio? Now you can find out what it's like to start at the bottom, and work your way up to Recording Engineer and Producer. Don't you wish you could do that? The Insider's Guide to Working in a Pro Recording Studio
Class D Power Amplification
"Class D Power Amplification" starts by explaining how conventional power amplifiers work, including Class A, Class B, Class AB and Class C. It goes on to show how and why Class D power amplifiers are smaller, lighter and more efficient than conventional types. It also goes on to explain Class G and Class H. Essential reading for the live sound engineer. Class D Power Amplification
The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
Three amazing microphones and two amazing preamplifiers tested at Abbey Road Studio 2. This Multimedia Set™ includes the original Studio Master recordings, 48 kHz and AAC versions for easier downloading, videos in both high and medium resolution, and session notes. You will see and hear clearly the differences between the three microphones and two preamplifiers. Also, each preamplifer is demonstrated in two settings, giving further examples of how they can sound. The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
Piano Recording Techniques
Seven grand piano recording techniques and eighteen microphone positions clearly demonstrated in 'Studio Master Quality' audio, together with downloadable videos of the entire session, recorded in Abbey Road Studio 3. See and hear for yourself classic piano microphone techniques and positions - select the combination that YOU like best for your next piano recording project. Piano Recording Techniques
An Introduction to Equalization
"An Introduction to Equalization" shows you the science, technology and art of EQ. From filters through tone controls to full SSL-style console EQ, "An Introduction to Equalization" explains all of the foundation knowledge you need to know. Covers recording studio EQ techniques, and the important differences in live sound. If you don't know the material covered by "An Introduction to Equalization", then you simply don't know EQ. An Introduction to Equalization
The Anna Neale Microphone Preamplifier Test at Abbey Road Studio 3
Hear five amazing mic preamps on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include the Avalon M5 (Wow!), Universal Audio vacuum tube Solo/610 and the $50 Behringer MIC100. Can you hear the difference? PLUS video recordings of all of the tests. The Anna Neale Microphone Preamplifier Test at Abbey Road Studio 3
Pro Engineer School Vol. 1
The renowned Audio Masterclass Sound Engineering and Music Recording course in two e-books. Learn audio to professional standards. Maximize your chances in your studio job interview. Vol. 1 Pro Engineer School Vol. 1
Understanding Audio Specifications
Baffled by audio specifications? Frequency response, signal-to-noise, distortion - what does it all mean? Do manufacturers always tell the whole truth about their products? And how can you tell from the specifications which equipment is best? Find the answers here in Understanding Audio Specifications! Understanding Audio Specifications
The Steve Lyon Record Producer Interview Video
Steve Lyon's productions have sold in their millions. He has more than twenty years' experience in recording and production. He learned from legendary producer Glyn Johns. Now, in this 60-minute video interview, Steve Lyon reveals his production secrets. The Steve Lyon Record Producer Interview Video
Talking to Rupert Neve - the Father of Mixing Console Design
Rupert Neve, the best-known mixing console designer in the world, shares his knowledge and insights in this vintage interview from his heyday in 1987. Talking to Rupert Neve - the Father of Mixing Console Design
Acoustic Guitar Recording Techniques
Thirteen microphone positions in mono and stereo clearly demonstrated on two acoustic guitars in 'Studio Master Quality' audio, together with downloadable videos of the entire session, recorded in Abbey Road Studio 3. See and hear for yourself classic acoustic guitar microphone techniques and positions - select the combination that YOU like best for your next acoustic guitar recording project. Acoustic Guitar Recording Techniques
The Guy Barzily Microphone Test at Abbey Road Studio 2
Hear ten PRO microphones on male vocal, recorded in studio master quality at Abbey Road Studio 2. The tests include the ultra-classic RCA 44BX 'Elvis' ribbon mic, the equally classic AKG C12 vintage tube, plus eight other mics you NEED to know. PLUS video recordings of all of the tests in this Multimedia Set™. Mic list: AEA A440, AEA R84, AKG C12, Beyerdynamic M160, Blue Baby Bottle, Bruel & Kjaer (DPA) 4011, Neumann U47, RCA 44BX, STC (Coles) 4038, Violet Design Flamingo The Guy Barzily Microphone Test at Abbey Road Studio 2
The Hidden Compressor
"The Hidden Compressor" is an advanced e-learning text, so you need to know all the basics of compression already. "The Hidden Compressor" covers advanced techniques that have not been seen explained by anyone else in print or on the web. If you want to get more out of your compressor, you'll find you didn't know that the compressor you have already could do so much. "The Hidden Compressor" includes information on recommended compressors at all price levels, from home studio to pro. The Hidden Compressor
Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
The Neumann U87 is the world's most popular microphone - certainly the most desired. Find out exactly what it's like to get your hands on one and use it to its full potential in Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone