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Author
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Topic: What's a Good Mike For Steel?
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Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 24 June 2002 03:52 PM
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I run stereo effects, with some separation between the speakers. I don't see how one mike would do it, Dan. |
John Macy
Member From: Denver, CO USA
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posted 24 June 2002 08:19 PM
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So get two Royers, b0b...  You'll be broke, but styling. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 25 June 2002 09:58 PM
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Well, I lucked into an unexpected $250 refund today, so I ordered the following from AMS:
2 Shure SM-57s
2 short Atlas mike stands
2 Shure cables (25')
The total with shipping came to about $245, so I guess this is what I'll be using for a while. These are for stage use - we often record the Open Hearts band live, and I also plan to use them for sound reinforcement at large gigs.
I decided on the SM-57 instead of the Beta 57A because of the price difference. My budget was smaller than expected, but I imagine I'll get plenty of good use out of this pair.
Thanks, everyone, for your input.------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (F Diatonic) Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6) |
John Hawkins
Member From: Onalaska, Tx. on Lake Livingston
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posted 26 June 2002 05:53 AM
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b0b ,
Good choice ! I believe you will be happy with the results you get . In my experience with SM 57's , I found it best ,as some have already said here , that directing the mike an inch or so off to the side of the speaker silver cone with the mike almost touching the grill cloth will usually give you the best sound results . Tweaking this distance may add to your liking even more .Good luck and the price was right too ! John |
Steve Stallings
Member From: Bremond, Tx, pop 876, Home of the fighting Bremond Tigers
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posted 27 June 2002 04:47 AM
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That is what I use to mic my two Evans amps. They work well and are very durable.------------------
Steve Stallings
Bremond, Texas
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Dennis Detweiler
Member From: Solon, Iowa, US
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posted 28 June 2002 04:13 PM
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Anyone familiar with the old EV 664 mic?
A heavy built mic with unbalanced high and low impedence changeover capabilities. For recording and vocal.
Are these a good steel mic? Probably early 60's?
Dennis |
Gary Shepherd
Member From: Fox, Oklahoma, USA
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posted 20 June 2005 10:24 AM
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You REALLY need to look at the Studio Projects C1. Sounds like a Neuman U87 but only costs $200 each. Pro studios were going crazy over these about 3 years ago when they first came out.gs
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Gary Shepherd Carter D-10 www.16tracks.com
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Jim Phelps
Member From: just out of Mexico City
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posted 20 June 2005 12:20 PM
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I still use a Shure SM-57. |
Mike Archer
Member From: Church Hill, Tennessee, USA
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posted 20 June 2005 01:11 PM
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well bob ill chime in and say sm57 too
i use um on my steel and guitar rigs
they sound very good and they dont cost all that much so if one gets broke or
whatever your not out a lot of money
IMHO mike |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 20 June 2005 09:47 PM
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It's 3 years later now, and I'm still very happy with those SM-57 mikes. ------------------
 Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) |
Al Terhune
Member From: Newcastle, WA
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posted 20 June 2005 11:01 PM
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I agree with Dan about using ribbon mics for steel (almost anything, really, if you've got good input). But, hey, really, a mike's a mike. Play good and use a good amp...which, b0B, we know you do, so any old mike would do, really -- your average listener couldn't care less. |
Keith Cordell
Member From: Atlanta
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posted 21 June 2005 06:59 AM
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Sennheiser e609's sound far superior to an SM57 and can be had for $200 a pair at most music stores. ------------------
GFI D8 Non-Pedal, Peavey Delta Blues, Goodrich H10K VP, Modded Vox V-847, Ibanez DD1000 Digital Delay, Dunlop Lap Dawg bar |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 21 June 2005 07:18 AM
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In what way do they "sound far superior"? Can you describe the difference? |
Randy Beavers
Member From: Lebanon,TN 37090
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posted 23 June 2005 04:55 AM
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Bob, I bought a Sennheiser e609 a few weeks ago. I was wanting something I could leave in my steel seat for when the mics on stage were less than adaquate. This mic has a side address capsule so you can hang it over the top of your amp and not use a stand. I recorded some tracks with it here at the house, and was very surprised at just how close this mic sounds to the 421 sennheiser. To me it's a much better choice than a SM57. The 57 has a mid range bump and the e609 is closer to the sound my ear hears coming from the amp. Price, $100.00 out the door at Guitar Center.
You can never have too many mics. Right John?[This message was edited by Randy Beavers on 23 June 2005 at 07:05 AM.] |
John Macy
Member From: Denver, CO USA
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posted 23 June 2005 07:05 AM
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Absolutely ...Since this thread started I have been carrying a couple of 609's for live gigs and they sound great, and the no stand thing is pretty cool. I recorded the other day with the 609 on one cab and a Royer on the other and it sounded real good ... By the way, I have a couple of friends I respect saying some good things about the new crop of Chinese ribbon mics being marketed by Nady, PPA and others ($200 or under). I have a couple coming to demo and will report in after I have beat on them for awhile ...[This message was edited by John Macy on 23 June 2005 at 07:08 AM.] |
Lawrence Sullivan
Member From: Granite City, Illinois, USA
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posted 23 June 2005 03:12 PM
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Bob a place to check out is Heil Sound LTD On the web and see if they have anything of interest. There was an article in one of the local papers about a new microphone they have that is being used by local broadcast stations Bob Heil used to do the sound for some big rock groups as in Jerry Garcia and the Grateful Dead if thats any recomendation
Good luck Larry |
Billy T. Johnson
Member From: Statesboro, Georgia, USA
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posted 23 June 2005 03:25 PM
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i do live sound and studio full time. this is my opinion.do it sveral ways depending on situation: mic close with a SM57 (best for live shows usually) or do the SM57 close + a condensor FET mic about 2-3 foot away (studio work). place sm57 close (touching the grill slightly) about half way between the center voice coil and the outer speaker edge for more balanced tone. the closer to the center (if mic'ed close) is slightly brighter. if you baffle/isolate the amp in live shows, you can add a condensor mic 1-2 for back on axis for the added brightness. this is hard to get in a louder stage. also, use mics + a direct (out) box feed to the FOH/monitor consoles, allowing the engineer to blend both sounds. (often done with bass players). hope sthis helps. this is old news but sometimes over looked. later,
Billy
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William Johnson (Billy)
Grievous Angel Productions
Statesboro, GA. 30461 USA
www.grievousangelpro.com |
Tony Prior
Member From: Charlotte NC
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posted 23 June 2005 03:39 PM
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I was thinking...Mike Johnson
Mike "Cookie" Jones
t 
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Jerry Gleason
Member From: Eugene, Oregon
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posted 23 June 2005 04:22 PM
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I would cast a vote for one of the older EV family of dynamic mics like the RE-20, or RE-15, RE-16, or RE-18 hypercardiods, if you can find them. The "variable D" design eliminates the proximity effect that is found in other cardioid designs, and makes it a very natural sounding microphone. They can handle high sound pressure levels, and are rugged enough to hammer nails with. These overlooked mics can sometimes be found on the used market at very good prices. I have yet to find an EV dynamic mic that wasn't useful for something, either for recording, sound reinforcement, or both. |
Dan Tyack
Member From: Seattle, WA USA
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posted 23 June 2005 09:08 PM
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The PPA (Pacific Pro Audio) ribbon is amazing, very nearly as good as my AEA ribbon. And very reasonable ($200??).------------------
www.tyack.com |
Henry Nagle
Member From: Santa Rosa, California
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posted 23 June 2005 11:21 PM
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Do any of you ever point the amp into the corner and mic the corner? I did a live studio recording once where there weren't a lot of rooms for isolation. I didn't notice anything in particular about how isolated the guitar was in the recording. I did notice that the tone was very different (tighter?) and that the amp was not as intrusive at a loud volume. It was a Deluxe Reverb, by the way. As far as mics are concerned. I think 57s are great but I really don't like them right up against the grill. That works ok if there's another mic at a distance. The coolest sounding mic that I've ever used for guitar was a Royer ribbon mic. It really captured the subtlety and detail in my guitar tone (although unfortunately, not in my playing) I've found that a neat way to record acoustic guitar is to put a 57 fairly close to the picking hand, below and behind the bridge (7" or so) and a small diaphragm condenser mic up closer to the headstock. I think that the 57 captures the percussiveness and mid-attack, and the condenser captures all the shimmery sweetness. Has anyone else found 58's to be very forgiving recording mics for vocalists with harsh sounding voices? Good mics can be too honest sometimes. Or maybe it's just that crappy singers are used to singing into cheap mics.[This message was edited by Henry Nagle on 23 June 2005 at 11:27 PM.] |
Robert Parent
Member From: Savage, MN
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posted 24 June 2005 04:34 AM
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I mostly use EV speakers as well and never cared for the SM-57 on steel. To my ears the 57 is much to brittle and harsh sounding. Years ago I tried a EV PL80 vocal mic and have used that ever since as it sounds great. Warm and well balanced tone in my opinion. For live gigs a dynamic mic (like the PL80) has usually worked best where as in the studio a condensor mic is usually my pick. These days for $500.00 you should be able find several great mics for youe collection. |
Michael Garnett
Member From: Fort Worth, TX
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posted 26 June 2005 10:42 AM
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I use a 57 live, and whenever I'm in the studio, I demand (or respectfully request) to use a Shure KSM44. But as it is a condenser and at $700, I wouldn't even think about taking one outside the controlled environment of the studio.-MG |
Garth Highsmith
Member From:
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posted 27 June 2005 04:33 PM
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.[This message was edited by Garth Highsmith on 06 January 2006 at 08:13 AM.] |
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