Members wooden Posted June 17, 2006 Members Share Posted June 17, 2006 So i want a workhorse of microphone. For guitar cabs, vocals, brass and saxophone. The main use will be brass and saxophone. I want it around $100, and i know the sm 57 is the universal mic for this kind of things, but i have heard good things about the audix i5 and some senheiser mics. So what do you say? Link to comment Share on other sites More sharing options...
Members UstadKhanAli Posted June 17, 2006 Members Share Posted June 17, 2006 For $100, the 57 just may be one of your best choices. I'm not familiar with the other ones you listed, assuming that they are under $100 as well. For brass and saxophone, a lot of people like using ribbons, but of course, you're talking about spending noticeably more than your stated budget. I love the 57 for guitar cabinets. After getting some very good mic preamps, I've been "rediscovering" how good a 57 on a guitar cabinet can be. I've gotten some good recordings of vocalists and saxes using a 57 as well. Link to comment Share on other sites More sharing options...
Members hurleysurf Posted June 17, 2006 Members Share Posted June 17, 2006 I haven't had any hands on experience, but I hear the Sennheiser e609 is great on horns, sax, and guitar cabs. I'd be hesitant to use it for vocals though. I do have experience with an SM57. It will be great on guitar and decent on vocals and horns. So if you really need to cover all your bases, go with the 57. Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted June 18, 2006 Share Posted June 18, 2006 At that price point, IMO, it comes down to the Sennheiser e609, the Audix i5 and the Shure SM57. All of them are good multi-purpose dynamic mics. The Sennheiser is a bit more directional than the other two - which may be good or not so good, depending on your preferences. I would recommend giving all three a try if you can arrange it and deciding based on what you hear. Link to comment Share on other sites More sharing options...
Members wooden Posted June 19, 2006 Author Members Share Posted June 19, 2006 Originally posted by Phil O'Keefe At that price point, IMO, it comes down to the Sennheiser e609, the Audix i5 and the Shure SM57. All of them are good multi-purpose dynamic mics. The Sennheiser is a bit more directional than the other two - which may be good or not so good, depending on your preferences. I would recommend giving all three a try if you can arrange it and deciding based on what you hear. since ill be recording in a less than acoustically ideal space a very directional mic is a good thing to have right? what do you think? Link to comment Share on other sites More sharing options...
Members where02190 Posted June 19, 2006 Members Share Posted June 19, 2006 The e609 is actually a pretty darned good mic for vocals. Stevie Ray Vaughn used the original 409s for vocals live, for years. It'd get my vote. Link to comment Share on other sites More sharing options...
Members wooden Posted June 19, 2006 Author Members Share Posted June 19, 2006 Originally posted by where02190 The e609 is actually a pretty darned good mic for vocals. Stevie Ray Vaughn used the original 409s for vocals live, for years. It'd get my vote. What do you think of it in brass and sax? is it any useful for kick drum beater side? Link to comment Share on other sites More sharing options...
Members wooden Posted June 19, 2006 Author Members Share Posted June 19, 2006 I ve heard the I5 has a higher output than the sm 57 is it true? it will be a plus since i just have my fair good but not so spendid pre amps on my 1616m and soundcraft compact 10 Link to comment Share on other sites More sharing options...
Members wooden Posted June 19, 2006 Author Members Share Posted June 19, 2006 the sax will be mainly a tenor, and i would like the mike to be suitable for trombone too. So i guess ill need good low mid response right? I have an AT2020 2 at3035 and at 3031 so i could complement it with them. By the way i have audiotechnicas because of you ustad i saw your enthusiast about them and i am a fan of your sound, i know you dont owe everything to your AT's and mines are budget ones but ther certainly sound good. Link to comment Share on other sites More sharing options...
Members UstadKhanAli Posted June 19, 2006 Members Share Posted June 19, 2006 Originally posted by wooden the sax will be mainly a tenor, and i would like the mike to be suitable for trombone too. So i guess ill need good low mid response right? I have an AT2020 2 at3035 and at 3031 so i could complement it with them. By the way i have audiotechnicas because of you ustad i saw your enthusiast about them and i am a fan of your sound, i know you dont owe everything to your AT's and mines are budget ones but ther certainly sound good. Oh, cool! I think that Audio-Technica makes really good mics for the money. At each price point, they have very nice mics. I use an AT4060 constantly and absolutely love it (it's an expensive mic - expensive even when I got a killer deal on it). Glad you like them. I'd hate to give a recommendation about the company and then have someone think, "Wow....this is really horrible!!!" To answer your question, you could absolutely complement your dynamic mic with having a condenser, perhaps farther away. Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted June 20, 2006 Share Posted June 20, 2006 Originally posted by wooden the sax will be mainly a tenor, and i would like the mike to be suitable for trombone too. So i guess ill need good low mid response right? I have an AT2020 2 at3035 and at 3031 so i could complement it with them. The I5 does have pretty good bottom end. I have not tried it on trombone yet, but I bet it would be at least decent in that application. Yes, it does have a bit hotter output than a SM57. Link to comment Share on other sites More sharing options...
Members where02190 Posted June 20, 2006 Members Share Posted June 20, 2006 Originally posted by wooden What do you think of it in brass and sax?is it any useful for kick drum beater side? I love the 609s on trumpet, and they work very well on sax. I use them live all the time with excellent results. Never tried them on kick, but I'm sure they'd sound decent. Link to comment Share on other sites More sharing options...
Members wooden Posted June 20, 2006 Author Members Share Posted June 20, 2006 for its hoter output and "better" botton end the i5 would be for me then. how about the e609 on this regards? Link to comment Share on other sites More sharing options...
Members wooden Posted June 20, 2006 Author Members Share Posted June 20, 2006 I one borrowed a 57 and i had prblems with too little gain and noise... by the way Link to comment Share on other sites More sharing options...
Members wooden Posted June 20, 2006 Author Members Share Posted June 20, 2006 how about the f series from audix? they have very affordable packages. Link to comment Share on other sites More sharing options...
Members GZsound Posted June 20, 2006 Members Share Posted June 20, 2006 Originally posted by where02190 I love the 609s on trumpet, and they work very well on sax. I use them live all the time with excellent results. Never tried them on kick, but I'm sure they'd sound decent. I am going to buy an e609 today based on your recommendation. So if you are wrong, I am going to send you virtual noogies until you die a horrible death by noogie.. I have decided to stop using my Beyer M260 live and I can't stand the way my sax sounds in a 57/58... Sooooo.. You are on the hook. Link to comment Share on other sites More sharing options...
Members where02190 Posted June 20, 2006 Members Share Posted June 20, 2006 One of the keys to a great sax sound is knowing that it does NOT come from the bell, but from the valves. One of the things I love about using the 609 live is sax players cannot stuff it down the throat of the bell, I absolutely hate that sound. A couple feet back, aiming across the bell to the valves, sounds killer. Also you might try from the side and below the bell on the valves side. Link to comment Share on other sites More sharing options...
Members Will Chen Posted June 20, 2006 Members Share Posted June 20, 2006 Just an alternate view of an often unloved mic. The Blue Ball has a very intereting sound on amps. It has a little more oomph in the low mids than a sm57 and depending on position a really unique resonance (I'm sure due to the round housing). I happen to really like it on guitar. I haven't really found it's unique character very useful for much else though... Link to comment Share on other sites More sharing options...
Members UstadKhanAli Posted June 21, 2006 Members Share Posted June 21, 2006 Originally posted by where02190 One of the keys to a great sax sound is knowing that it does NOT come from the bell, but from the valves. One of the things I love about using the 609 live is sax players cannot stuff it down the throat of the bell, I absolutely hate that sound. Don't most decent sax players know that, or am I just insanely lucky so far? Link to comment Share on other sites More sharing options...
Members Not Serial Posted June 21, 2006 Members Share Posted June 21, 2006 nearly all sax players i come into contact with jam the mic in their bell. it sounds like *ss. you have been lucky. trumpets have valves. saxes have keys. Link to comment Share on other sites More sharing options...
Members wooden Posted June 21, 2006 Author Members Share Posted June 21, 2006 Originally posted by UstadKhanAli Don't most decent sax players know that, or am I just insanely lucky so far? I am a sax player my self (not very good though), and i hate that sound. But many of the sax players i know, most of them actually, try to put the mic as within the bell as they can. Link to comment Share on other sites More sharing options...
Members wooden Posted June 21, 2006 Author Members Share Posted June 21, 2006 on the other side i have seen most trumpet players going too far from the mic. I think it is kind of "i am really loud man, i dont wanna harm your mic" kind of attitude. Trumpetist always feel proud of being loud. Link to comment Share on other sites More sharing options...
Members GZsound Posted June 21, 2006 Members Share Posted June 21, 2006 Originally posted by where02190 One of the keys to a great sax sound is knowing that it does NOT come from the bell, but from the valves. One of the things I love about using the 609 live is sax players cannot stuff it down the throat of the bell, I absolutely hate that sound. A couple feet back, aiming across the bell to the valves, sounds killer.Also you might try from the side and below the bell on the valves side. After playing my 49 Selmer Super Balanced Action for over 45 years at just about every kind of gig you can name.. I think I know where the sound comes from... But I may be confused. Is it the big hole or the pointy one at the top? I never stuff the mic in the bell. My Beyer M260 does not like that sound. And live it's all coming from the bell, but in the studio, depending on the sound I want, I will mic the stack.. But I wouldn't feel comfortable using an LD on the horn live. Oh yeah, the e609 was a failure. I tried it out and it sounded to brittle, almost like a 58.. Not a sound I like, so I passed on the mic. Link to comment Share on other sites More sharing options...
Members GZsound Posted June 21, 2006 Members Share Posted June 21, 2006 Originally posted by wooden I am a sax player my self (not very good though), and i hate that sound. But many of the sax players i know, most of them actually, try to put the mic as within the bell as they can. That may be because they can't hear the monitors. I never get closer than a couple inches from the mic. Link to comment Share on other sites More sharing options...
Members where02190 Posted June 21, 2006 Members Share Posted June 21, 2006 on the other side i have seen most trumpet players going too far from the mic. I think it is kind of "i am really loud man, i dont wanna harm your mic" kind of attitude. Trumpetist always feel proud of being loud. What are you considering "too far"? 2-3 feet is perfectly acceptable, more if the player is really belting. And live it's all coming from the bell, but in the studio, depending on the sound I want, I will mic the stack. Absolutely wrong. The sound comes from the same place whether live or in the studio, the environment does NOT change how the instrument operates, and whoever told you this should be flogged. (and it's not from the bell) Sounds like you stuck your bell in front of the 609 instead of aiming it across the bell toward the valves, which would result in a thin and brittle. Link to comment Share on other sites More sharing options...
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