Let's talk Mics
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recording mic...
After 10,000 years of hanging out in studios, making records, the best mic for electric guitar amplifiers is a ribbon...usually pulled back from the amp a bit so that it can capture a bit more sound. I usually record smaller amps, 3-10 watts, with a ribbon mic about 12-24" away. anything bigger,say a Marshall with a 4x12, sounds best approximately 4' away pointed straight at the middle of the cabinet...seems to be a magic spot around there...I am not even talking about hi end ribbons like the Royers or AEA's although they rock beyond all belief. No , i am talking about your basic Chinese ribbon Mic...my favourite being the Apex 210 which costs about $175.00...they are fragile and i've killed a few but the sound is way bigger than any close mic situation with a 57.
If i do have to add a close mic, the only mic that I have have used that sounds wicked slammed against the grill of any amp is this Josephson that I've got. It doesn't collapse the way a 57 does when recording brutally loud amps.
however, at the end of the day, there are no rules...use your ears and be happy...and most important DO NOT let the equipment prevent you from your creativety...if you've only only got a radio shack mic, don't use it as an excuse for not recording the greatest guitar solo or vocal ever.....
After 10,000 years of hanging out in studios, making records, the best mic for electric guitar amplifiers is a ribbon...usually pulled back from the amp a bit so that it can capture a bit more sound. I usually record smaller amps, 3-10 watts, with a ribbon mic about 12-24" away. anything bigger,say a Marshall with a 4x12, sounds best approximately 4' away pointed straight at the middle of the cabinet...seems to be a magic spot around there...I am not even talking about hi end ribbons like the Royers or AEA's although they rock beyond all belief. No , i am talking about your basic Chinese ribbon Mic...my favourite being the Apex 210 which costs about $175.00...they are fragile and i've killed a few but the sound is way bigger than any close mic situation with a 57.
If i do have to add a close mic, the only mic that I have have used that sounds wicked slammed against the grill of any amp is this Josephson that I've got. It doesn't collapse the way a 57 does when recording brutally loud amps.
however, at the end of the day, there are no rules...use your ears and be happy...and most important DO NOT let the equipment prevent you from your creativety...if you've only only got a radio shack mic, don't use it as an excuse for not recording the greatest guitar solo or vocal ever.....
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14,581 Posts
I've had quite a mix of mics over the years but these days I use a Sennheiser 865 most of the time for vocals and sometimes for acoustic instruments, it's particularly kind to my mandolins. Sometimes I use an Apex 275 headset mic. Both are condenser mics, which is helpful for someone as farsighted as I am so I don't bash my teeth on the mic, and I can stay away from it several inches. A dirt cheap Audix CD11 dynamic mic gets a little use as an amp mic for live situations. Also, for use at home, I've got an MXL large diaphram, and an MXL shotgun mic, both condensers, and an Apex 181 USB mic.
The band uses mostly Shure mics, though I haven't used one since I switched to Sennheisers.
Peace, Mooh.
The band uses mostly Shure mics, though I haven't used one since I switched to Sennheisers.
Peace, Mooh.
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3,716 Posts
I agree 1000%. I'd much rather listen to something really creative and imaginative, which isn't recorded well, than some boring claptrap which is recorded using the best equipment.
Imagination trumps "gear" every time.
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96 Posts
Lots of albums done with SM58 on lead vox or a Shure SM7 (note SM7, not SM57 there) which is also a dynamic... Michael Jackson, Pearl Jam, U2 and the list goes on. In fact both of these mics are the two most recommended by recording engineers to home studio guys who might not have the best sounding room to record in and want to reject as much of the sound of the room as possible.
You absolutely don't "need" a condenser and in fact it's not always the best weapon of choice for a particular singer or tracking situation.
I know personally of a particular album by a popular Canadian band in the late 80's where an SM58 was used for lead vox because the singer needed to run around and do his "live" thing to catch a great vocal performance and couldn't stand still in front of a mounted condenser to save his life... and this is actually quite common in a studio environment, more than you think.
An SM7 (SM7A SM7B) is used quite extensively on female vocals in the studio.
Anyway, just wanted to point out that needing a condenser to record a totally pro sounding vocal track is as much a myth as needing for that condenser to be a tube mic... you just need a good mic... period (and that does include the SM57, SM58 and certain other dynamics that aren't high dollar mics relatively speaking)... oh, yeah, and a good singer (wink).
Now using a good mic pre is a whole different ball game. A SM58 into a high end pre is not the same as an SM58 into some crappy 60 dollar entry level pre or the channel pres in some mixer or cheap interfaces and/or converters... but neither is a condenser.
By the way, yes there are some Marshall (as well as some other Chinese made) mics that do sound decent and some of them are even rather stellar once modded. An even better bet are the rather decently priced Russian made Oktava mics which also are great sounding mics to begin with (blow the Chinese mics out of the water) and once modded (by Michael Joly of oktavamod.com for instance or there are DIY kits) are on par with some of the most desired mics out there. I bought two Oktava MK-319 mics off ebay for a little over 100 bucks each... they are getting modded by Mr. Joly this summer. He also mods other mics including some of those Marshalls
The Oktava small diaphragms like the MK-012 (aka MC-012) are great on acoustic guitar and drum overheads... and once modded are even better, and will give even Neumanns a run for their money.
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2,403 Posts
I tested my mike through a Yamaha aw16G.. and no effects or filters, and there was no comparision between the SM-58 and the Marshall condensor mic i had.
No the SM-58 is not defective , a great live vocal mic.. I stand by my test.I don't really care what the pro's do as in studio's they could make a 20.00 Radio shack mic sound good.
Rick
No the SM-58 is not defective , a great live vocal mic.. I stand by my test.I don't really care what the pro's do as in studio's they could make a 20.00 Radio shack mic sound good.
Rick
If your looking for something like an SM7 but don't have the bucks I would suggest the Kel Audio HM-2D. They are pretty cheap and they're Canadian. I've had great results with it so far on guitars vocals and even a FOK on drums. It's not a dynamic but it definately has that vibe.
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47 Posts
An SM57 is a pretty foul sounding overhead mic. Even a cheap condenser or ribbon will give much better results. I find that dynamic mics don't have the fast transient response necessary for cymbals.
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276 Posts
I just picked up an Apex 210 Ribbon Mic. It sounds fantastic!Records dirty guitar sounds really. Nice big bottom end. I can't wait for my Two Audio Technica 4041's to arrive
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47 Posts
No doubt that sm-57 and the apex 210 or good for close miking.Just got myself a 210 and had a$$ kicking result.
- 6 [email protected] of speaker cone
-About one foot [email protected] of cabinet(twin twelve)
But make sure you dont DROP it
Great result where olso achive with a Sm-58 less then a foot [email protected] of speaker cone.
I think this thread would be much more instructive if pepole told also about HOW they use their mic..instead of just dropping names.But hey! that just me
and my crazy ideas
-MGM-:smile:
- 6 [email protected] of speaker cone
-About one foot [email protected] of cabinet(twin twelve)
But make sure you dont DROP it
Great result where olso achive with a Sm-58 less then a foot [email protected] of speaker cone.
I think this thread would be much more instructive if pepole told also about HOW they use their mic..instead of just dropping names.But hey! that just me
and my crazy ideas
-MGM-:smile:
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23,563 Posts
You may know ths, but the 57 and 58 cartridges are exactly the same. The only difference is the wind screen.No doubt that sm-57 and the apex 210 or good for close miking.Just got myself a 210 and had a$$ kicking result.
- 6 [email protected] of speaker cone
-About one foot [email protected] of cabinet(twin twelve)
But make sure you dont DROP it
Great result where olso achive with a Sm-58 less then a foot [email protected] of speaker cone.
I think this thread would be much more instructive if pepole told also about HOW they use their mic..instead of just dropping names.But hey! that just me
and my crazy ideas
-MGM-:smile:
For marshall or similar I like a 57 straight at the dust cap and with the mic touching the grill cloth. For a Fender or other clean-ish amp I angle the 57 off axis and still against the grill cloth.
If I feel extravagent I sometimes will use a second 57 about a foot away, but really I can get a pretty fat sound with one mic.
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