That said, I have had large eyes for Beyer dynamic mics, lately, and I've put alerts out on some local secondhand websites. Maybe something will turn up.
Hi Helman - I couldn't agree more. Most of the tools (the mics) are good enough, yes. Having said that I often find myself listening back to the edited files and noting differences and indeed enjoying noticing differences. They are not differences that demand a mic be cancelled but they are maybe reason to seek out a mic or flag it up for future use in a particular context. I too am always on the look out for Beyers - I fancy a ribbon and an LDC - but they are expensive desires.... thanks for the wisdom. Ta like, ppm6.
Of course, 99 sounds the best in this case. But the M201 continues to amaze me. This is one of the most versatile microphones I've heard. This mic is capable of amplifying drums, wind instruments, violin, and your voice sounds good on it too. Beyerdynamic is the most underrated company on the market.
Yes we should be generous in our praise for the 201, it is versatile affordable and robust - though I lost two to the Nile! And I agree that Beyerdynamic doesn't always get the love it deserves. Except maybe in the ribbon department, I haven't been able to snag a cheap Beyer ribbon, someday maybe! Thanks again for listening and responding. Ta like, ppm6.
I wonder whether Beyer has not been helped by maintaining the name "Beyerdynamic"? It perhaps suggests to some that they don't manufacture capacitor mics . . .
The story I heard is that back in the day Bayer - the massive German chemical company made Beyer change their name. But I now hear that Bayer have moved their operation to China so maybe one day Beyerdynamic might revert to the much handier handle of just Beyer. Take care.
I wish I had an M201, it seem really useful when in need of a nice bottom end. The M99 might not have the clarity of an EV RE320 but indeed deserves to be in t he mic locker, I love it on bass cab where it has a nice "woody" sound to it you wouldn't get out of other mics or any kind of processing.
I lost two 201s in a flood in South Sudan. I don't really the miss the Fostex FR2 that was also baptised in the Nile but those 201s I pine for. Good to have some real world experience of the M99. I've never been quite sure what its forte so a bass cab is a good tip. Ta like, ppm6.
I like the M99. It seems more intelligible to me. I wonder if it gets a bit boring on a longer listen. Then the M88, I have no arguments and finally the M201 whose bass presence can seduce by its beautiful roundness. These 3 microphones seem to be good tools. Thank's.
Thanks Oli - do you know I did wonder if it might be the same capsule in all of them! I'll try and check it out. For years in the BBC we had M201s as back ups in case of a failure of the phantom. Back then the main mics were AKG 451s or Calrecs. The 201, not too shabby actually and has outlasted the others! Ta like, ppm6.
Really nice comparison, thanks🙏 I'm happy that I bought two 201 some years ago, and I can confirm the multi-purpose range. There is the rumour that Annie Lennox used it for recording Sweet Dreams. Unfortunately, accessible sources only mention a slim Beyerdynamic commonly used for hi-hats. I remember that Beyerdynamic also sold SDC that time. Does anybody maybe know more?
Olav that is a great story, sadly I don't know the answer but I would love to find out. Let me know if the truth comes to light. I would have thought the 201 might be a bit pop prone for a pop vocal but who knows! Ta like, ppm6.
FInally, I found this video by a lucky accident: ua-cam.com/video/F1AXHogOB5Y/v-deo.html. Annie is using a mic that pretty much seems to be an old M201. Although this video was shot in 1985 it could be an indication that she used this mic before.
The M201 is a venerable and versatile mic., they were common in talks studios at BBC radio when I was there ~ 40 years ago. They were good but their low output level could cause problems especially with the type B, valve, mic. amps which were still widely in use at the time. In other applications the tight cardioid pattern of the 201, and the low sensitivity, were useful features. In the readings here the 201 is my least preferred mic., because there are occasions where the top end borders on sibilance. Conversely the M99 is full at the bass end and there are a couple of near pops in this recording as evidence. So, on this occasion, I think my favourite of the trio is the M88. NB, with regard to pops I do remember some fairly spectacular ones from the BBC M201's all those years ago . . .
Thanks Hugh - I joined in 83 and I don't think we had any valve mic amps where we you ... certainly by the time I got to Cardiff in the mid 80's we had Audix GP Mark 2 and 4s in talk studios and some Glensound in the channels and workshop style studios. But we had a mighty SSL in our classical music studio! All our 201s in the main studios were back ups to 451s and Calrecs - someone at some point had decided loss of phantom power was an imminent and terrible threat. Never failed in my time. I too find the top end of the 201 a little aggressive, I might even find the M88 a little too hot at the top and prefer the M99 but it does need serious pop reduction technology. What I can't get over is that the 201 is still going strong today, well done Beyerdynamic I suppose. And while I'm here, bring back faders that go in the right direction. Thanks Hugh.
When I joined the Beeb in ’78, at least half of the studios at Broadcasting House and Bush were still running with valve based equipment. This was mostly BBC type B dating from the 50’s and 60’s but at BH there were still some studios using 1940’s type A desks. The type B valve amps were modular and mounted in bays or, for type A, in “equipment cupboards.” There was no phantom power provided by the desks so if you wanted to use a capacitor mic. (AKG C12, 24, or 28) you needed an external mains powered AKG power supply. Naturally, knowing best, the BBC modified these to tweak the eq. a bit! Some studios had already been transistorised, mostly with the BBC’s own type D desks but there was also the occasional Neve, and the rest were being steadily converted to the “three manufacturer” GP desks . . .
Strange that the old gear hung around so long. But then it took us 15 years to replace the GP kit. I laugh now when I see modules (many of them presumably ex Beeb shagged out modules) repacked into 'boutique outboard' cases, sometimes with the compressors. Which really were terrible! And on our Audix's the gain contrrol had click stops plus a variable trim, so if you needed to back off or boost more than the trim allowed, everyone was going to hear it. Mind you our three continuity suites had BBC built Maxi-Con desks. The greatest rock and roll bands in the world just brilliant. Hellishly expensive as you would expect but brilliant.
I am very surprised by this test: out of habit, for a man, I would have said: M88 > M201 > M99. But it's true that you have a rather particular voice, quite clear, with a fundamental that is not very present. While the M88 tends to sublimate the bass of male voices, and to clear them up", on your voice it's too much, and it does not support your bass. The M201 enhances the mids well, but remains quite aggressive. Surprisingly, the M99 on your voice sounds like an SM7b on a "classic" male voice. If I had to listen to you for 10 minutes and have the choice of microphone, I would choose the M99, which is soft and quite detailed on your voice, with a slight high boost eq and it's perfect!
Hi Gauthier, thanks for such a detailed analysis. And I think behind your insights there's a pertinent truth. Horses for courses, on a another voice we may prefer another microphone. But for this set I agree with your the M99, which I have often thought a bit lightweight, comes out tops. So top work from you on this test. Ta like, ppm6.
Oohhhh they are all really good. Appreciate the shootout!
Second listen I want an M88 badly.
Hi Bobby - the M88 is a great mic - not cheap, but great. Ta like, ppm6.
To my way of thinking this demonstration supports my notion that for most tasks most of the time most mics will do just fine.
That said, I have had large eyes for Beyer dynamic mics, lately, and I've put alerts out on some local secondhand websites. Maybe something will turn up.
Hi Helman - I couldn't agree more. Most of the tools (the mics) are good enough, yes. Having said that I often find myself listening back to the edited files and noting differences and indeed enjoying noticing differences. They are not differences that demand a mic be cancelled but they are maybe reason to seek out a mic or flag it up for future use in a particular context. I too am always on the look out for Beyers - I fancy a ribbon and an LDC - but they are expensive desires.... thanks for the wisdom. Ta like, ppm6.
Of course, 99 sounds the best in this case. But the M201 continues to amaze me. This is one of the most versatile microphones I've heard. This mic is capable of amplifying drums, wind instruments, violin, and your voice sounds good on it too. Beyerdynamic is the most underrated company on the market.
Yes we should be generous in our praise for the 201, it is versatile affordable and robust - though I lost two to the Nile! And I agree that Beyerdynamic doesn't always get the love it deserves. Except maybe in the ribbon department, I haven't been able to snag a cheap Beyer ribbon, someday maybe! Thanks again for listening and responding. Ta like, ppm6.
I wonder whether Beyer has not been helped by maintaining the name "Beyerdynamic"? It perhaps suggests to some that they don't manufacture capacitor mics . . .
The story I heard is that back in the day Bayer - the massive German chemical company made Beyer change their name. But I now hear that Bayer have moved their operation to China so maybe one day Beyerdynamic might revert to the much handier handle of just Beyer. Take care.
I wish I had an M201, it seem really useful when in need of a nice bottom end. The M99 might not have the clarity of an EV RE320 but indeed deserves to be in t he mic locker, I love it on bass cab where it has a nice "woody" sound to it you wouldn't get out of other mics or any kind of processing.
I lost two 201s in a flood in South Sudan. I don't really the miss the Fostex FR2 that was also baptised in the Nile but those 201s I pine for. Good to have some real world experience of the M99. I've never been quite sure what its forte so a bass cab is a good tip. Ta like, ppm6.
I like the M99. It seems more intelligible to me. I wonder if it gets a bit boring on a longer listen. Then the M88, I have no arguments and finally the M201 whose bass presence can seduce by its beautiful roundness. These 3 microphones seem to be good tools. Thank's.
I agree all three are good tools and I think all three make good additions to the mic cupboard. Thanks for listening and sharing. Ta like, ppm6.
All three mics are stunningly good. M88 wins for my ears
Thanks Oli - do you know I did wonder if it might be the same capsule in all of them! I'll try and check it out. For years in the BBC we had M201s as back ups in case of a failure of the phantom. Back then the main mics were AKG 451s or Calrecs. The 201, not too shabby actually and has outlasted the others! Ta like, ppm6.
Really nice comparison, thanks🙏 I'm happy that I bought two 201 some years ago, and I can confirm the multi-purpose range. There is the rumour that Annie Lennox used it for recording Sweet Dreams. Unfortunately, accessible sources only mention a slim Beyerdynamic commonly used for hi-hats. I remember that Beyerdynamic also sold SDC that time. Does anybody maybe know more?
Olav that is a great story, sadly I don't know the answer but I would love to find out. Let me know if the truth comes to light. I would have thought the 201 might be a bit pop prone for a pop vocal but who knows! Ta like, ppm6.
FInally, I found this video by a lucky accident: ua-cam.com/video/F1AXHogOB5Y/v-deo.html. Annie is using a mic that pretty much seems to be an old M201. Although this video was shot in 1985 it could be an indication that she used this mic before.
Hi Olav, what a great find! Lovely to see them looking so fresh and sounding so good. Well done that man.
The M201 is a venerable and versatile mic., they were common in talks studios at BBC radio when I was there ~ 40 years ago. They were good but their low output level could cause problems especially with the type B, valve, mic. amps which were still widely in use at the time. In other applications the tight cardioid pattern of the 201, and the low sensitivity, were useful features. In the readings here the 201 is my least preferred mic., because there are occasions where the top end borders on sibilance. Conversely the M99 is full at the bass end and there are a couple of near pops in this recording as evidence. So, on this occasion, I think my favourite of the trio is the M88. NB, with regard to pops I do remember some fairly spectacular ones from the BBC M201's all those years ago . . .
Thanks Hugh - I joined in 83 and I don't think we had any valve mic amps where we you ... certainly by the time I got to Cardiff in the mid 80's we had Audix GP Mark 2 and 4s in talk studios and some Glensound in the channels and workshop style studios. But we had a mighty SSL in our classical music studio! All our 201s in the main studios were back ups to 451s and Calrecs - someone at some point had decided loss of phantom power was an imminent and terrible threat. Never failed in my time. I too find the top end of the 201 a little aggressive, I might even find the M88 a little too hot at the top and prefer the M99 but it does need serious pop reduction technology. What I can't get over is that the 201 is still going strong today, well done Beyerdynamic I suppose. And while I'm here, bring back faders that go in the right direction. Thanks Hugh.
When I joined the Beeb in ’78, at least half of the studios at Broadcasting House and Bush were still running with valve based equipment. This was mostly BBC type B dating from the 50’s and 60’s but at BH there were still some studios using 1940’s type A desks. The type B valve amps were modular and mounted in bays or, for type A, in “equipment cupboards.”
There was no phantom power provided by the desks so if you wanted to use a capacitor mic. (AKG C12, 24, or 28) you needed an external mains powered AKG power supply. Naturally, knowing best, the BBC modified these to tweak the eq. a bit!
Some studios had already been transistorised, mostly with the BBC’s own type D desks but there was also the occasional Neve, and the rest were being steadily converted to the “three manufacturer” GP desks . . .
Strange that the old gear hung around so long. But then it took us 15 years to replace the GP kit. I laugh now when I see modules (many of them presumably ex Beeb shagged out modules) repacked into 'boutique outboard' cases, sometimes with the compressors. Which really were terrible! And on our Audix's the gain contrrol had click stops plus a variable trim, so if you needed to back off or boost more than the trim allowed, everyone was going to hear it. Mind you our three continuity suites had BBC built Maxi-Con desks. The greatest rock and roll bands in the world just brilliant. Hellishly expensive as you would expect but brilliant.
I am very surprised by this test: out of habit, for a man, I would have said: M88 > M201 > M99.
But it's true that you have a rather particular voice, quite clear, with a fundamental that is not very present.
While the M88 tends to sublimate the bass of male voices, and to clear them up", on your voice it's too much, and it does not support your bass.
The M201 enhances the mids well, but remains quite aggressive.
Surprisingly, the M99 on your voice sounds like an SM7b on a "classic" male voice.
If I had to listen to you for 10 minutes and have the choice of microphone, I would choose the M99, which is soft and quite detailed on your voice, with a slight high boost eq and it's perfect!
Hi Gauthier, thanks for such a detailed analysis. And I think behind your insights there's a pertinent truth. Horses for courses, on a another voice we may prefer another microphone. But for this set I agree with your the M99, which I have often thought a bit lightweight, comes out tops. So top work from you on this test. Ta like, ppm6.
😉i like the m88 than 201 …..the Kick is to crisp ……… 201 Look like a condenser and on Stage you can use ist like it👍 when you push it…..
Thanks Jobst - you know I thought they sounded quite similar, I think I might prefer the 99! Thanks for dropping by. Ta like, ppm6.