I'd like to get a pair of mikes for under $500. Any recommendations?

You might want to consider two Shure 57 's .

They are made to mike instruments . I have used one on each of my stereo speaker cabinets for a long time and they do a good job for a reasonable price . Rugged too !

You may want to take a look at this link .I have ordered several items from this company and they have been very efficient with everything I have ordered so far . Their packaging really protects the items --usually double boxed on fragile items .

They have a sale on right now that puts SM57'S at about $ 80.00 each .Sounds as if I work for them but I don't .I just have been pleased how well they have handled the things I have ordered from them .

Here is the link : www.ZZounds.com

Hope this helps you some .

John

Heres a couple links

click here

or here

[This message was edited by Rick Aiello on 04 June 2002 at 08:42 AM.]

Maybe mix the ambient mic with a close mic like a 57 or something? Anybody tried something like that with good results?

------------------
Home Page

I have tried about everything made, and carry a pretty nice collection with me in my rig, ranging from 57's to tube U47's. The preamp has a lot to do with the sound, too, making some cheap mics sound expensive, and some expensive mics sounding cheap...

The 57 is a pretty darn good choice for a lot of things, especially with a great preamp. I have actually cut some amazing vocals with it (and I have some great vocal mics to choose from).

For a long time, the 421 was my fave for steel, like Michael Johnson mentioned (and it's another nail driver).

Oh yeah, a brief affair with the 414's...

Then I got some ribbons, and fell in love with them (Both the Coles and the Royer, but mainly the Royer 121).

But, then I found a killer Sony C37A tube mic from the 60's, and it's the monster. Daniel Lanois uses it for all his electric guitars and also female vocals. So it's my current fave.

On the other hand, some of my favorite tones I have gotten personally have been direct off my rack mount Evans and Boogie pre's.

I do like getting the mic off the amp IF the room sounds good .

So to answer b0b's question--$500, hmmm.

2 57's leaves enough change to take a nice weekend somewhere with the wife/girlfriend .

2 421's used eats it all, but you gotta couple real versatile mics.

There are some new mics on the market, mostly Chinese that are sometimes spoken well of. Also, Shure has a new baby brother to the KSM32/44 family (which by the way are reaaal nice) in the $500/pair vicinity if your looking for a quality larger diaphram condensor.

(57's and a weekend are sounding mighty appealing at the moment--I've been buried in mixes for a loong time .

------------------

  ~ ~
  ©¿©          ars longa,
  mm         vita brevis 
-=�sr€=-

I give another vote for the SM-57 route. That is what I use in my project studio. I do know that Paul was using Sennheiser 421's on his cabinets in the studio (at least at some time), and they are a dynamic mic that would be easy to use live. I believe they are around $250 a piece.

I would steer clear of a condensor for live use myself, but if money is not an object - I love my rig with AKG C 414's ($700 each).

By the way, it's nice to know that someone else out there likes to play loud too!

In studios I have had good luck with the 421's if I can play my amp real loud. The Neumans and ribbon mikes can be fantastic. I use them backed off the cab quite a bit if the room is nice. They cost alot of money though. For my own music project I used a dozen geffels scattered all over a big church into a Sonic Solutions system. Heck of a sound but not even remotely practical.

I checked with a sound guy last night about all the new Sure 57/58 variations and he said the 57 is still the one.

Brad Sarno

------------------
Mattman in "The Big Sleazy"-:
S-10 Dekley, Suitcase Fender Rhodes, B-bender Les Paul

Yeah, I sometimes forget about the 4033's--great mics. I've had some luck with them on acoustic guitars, too.

Chuck Norris said:

"they don`t have a transformer, so it doesnt color your tone"

There are many, me included, who absolutely love how transformers color sound. All my favorite tube mics have transformers, as well as all my favorite mic preamps. The highly sought after Neve 80 series consoles are full of transformers, and sound warm and huge. So don't be afraid of them..

Gimme some iron!....

[This message was edited by John Macy on 07 June 2002 at 12:24 PM.]

In the studio where you can really hear the difference, I love transformers. Let's see, one on the output of the U47, 2 in the Neve 1073, and a couple more in the tube compressor. Sounds like heaven to me...

No problem on my end . Sometimes on certain acoustic sounds, I like Massenburg and Sontec preamps, which are transformerless, and very neutural sounding. Everybody has their faves.

I am curious, though, why you feel transformers choke the lows and highs out. My tube U47 mic has bottom end that sounds as big as a house, with very awesome high end, and it has a transformer. I have a custom DI I use for bass a lot that has a Jensen transformer on the out, and the bottom is huge, and the highs snap. All my Neve, Trident, Avalon and Telefunken preamps are full of transformers, yet are revered for their awesome low end and silky highs. Nearly every mic I use in the studio has a transformer, and they all sound great. A properly designed circuit or mic should have great frequency response, transformered or not. Just curious...

However, when you make blanket statements like that on a non-recording forum, I think it can confuse people. That's why I was curious why you felt that way.

Either way is fine. Thanks to y'all for the fine Dallas show--I always have a great time there.

[This message was edited by John Macy on 21 June 2002 at 07:51 AM.]

quote:

---

b0b PLAYS LOUD????

---

Thanks, everyone, for your input. I'm leaning toward the Shure Beta 57A, because of the good things said about it by people who have tried it. I'll have to wait a few months, though. Taxes are due.