What's a Good Mike For Steel?

Al Terhune · Post by **Al Terhune** » 20 Jun 2005 10:01 pm

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 · Post by **Keith Cordell** » 21 Jun 2005 5:59 am

Sennheiser e609's sound far superior to an SM57 and can be had for $200 a pair at most music stores.

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GFI D8 Non-Pedal, Peavey Delta Blues, Goodrich H10K VP, Modded Vox V-847, Ibanez DD1000 Digital Delay, Dunlop Lap Dawg bar

Bobby Lee · Post by **Bobby Lee** » 21 Jun 2005 6:18 am

In what way do they "sound far superior"? Can you describe the difference?

Randy Beavers · Post by **Randy Beavers** » 23 Jun 2005 3:55 am

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 · Post by **John Macy** » 23 Jun 2005 6:05 am

Absolutely

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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

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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 · Post by **Lawrence Sullivan** » 23 Jun 2005 2:12 pm

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

William Johnson · Post by **William Johnson** » 23 Jun 2005 2:25 pm

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 · Post by **Tony Prior** » 23 Jun 2005 2:39 pm

I was thinking...

Mike Johnson
Mike "Cookie" Jones

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Jerry Gleason · Post by **Jerry Gleason** » 23 Jun 2005 3:22 pm

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 · Post by **Dan Tyack** » 23 Jun 2005 8:08 pm

The PPA (Pacific Pro Audio) ribbon is amazing, very nearly as good as my AEA ribbon. And very reasonable ($200??).

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www.tyack.com

Henry Nagle · Post by **Henry Nagle** » 23 Jun 2005 10:21 pm

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 · Post by **Robert Parent** » 24 Jun 2005 3:34 am

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 · Post by **Michael Garnett** » 26 Jun 2005 9:42 am

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 · Post by **Garth Highsmith** » 27 Jun 2005 3:33 pm

.[This message was edited by Garth Highsmith on 06 January 2006 at 08:13 AM.]