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Suggestions On New Mic For Guitar Amp Tomorrow


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Okay, I am playing through a Fender Twin with a couple of JBL K120's in it. Anyway, tomorrow I am going to snag a mic to use with this amp, preferably on my gig tomorrow night. Here are the three candidates I am looking at right now:

SM57 (obvious virtue of being the industry standard)
Senheiser 609
Senheiser 906


I am open to other possibilities. If it matters, I am playing primarily in a Grateful Dead cover band, and I play the Jerry Garcia parts. So my "sound" has a tremendous amount of "high end" to it.

Anyway, what are your thoughts, everyone?

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If you dropped the quarters to buy a Twin and the JBLs just be authentic, you are already into some serious investment. That isn't cheap gear. Why wouldn't you want to also buy the mic he used to finish it off. Sennheiser 421. (Although any mics you posted work just fine, you are in a GD cover band so do it right. I mean you already started on that "long, long trip.")

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lol RoadRanger, I am working on it. Hoping to have a PRX based system with a StudioLive 24 channel mixer. I realize that isn't quite up to the fabled "Wall Of Sound," but I don't have seven figures to plunk down on PA, so ten grand or so will have to do. ;-(

Quote Originally Posted by Axisplayer View Post
If you dropped the quarters to buy a Twin and the JBLs just be authentic, you are already into some serious investment. That isn't cheap gear. Why wouldn't you want to also buy the mic he used to finish it off. Sennheiser 421. (Although any mics you posted work just fine, you are in a GD cover band so do it right. I mean you already started on that "long, long trip.")
Dude, I love you! That is an awesome idea! So instead of buying a new mic tomorrow, I will wait and save for the 421. Not sure why in the hell that never occurred to me. So I will just keep using my SM57 for now, and save for the Senheiser. Thanks!

Oh, one minor correction: It's "A long, strange trip." smile.gif
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CHIROVETTE: LOL...never was a big GD fan. Thanks for the correction!

ROADRANGER: I knew it overkill and was almost tongue in cheek when posting it. If they are a good tribute, they might play some shows with large PAs and it will pay off. It is not something I would normally tell somebody though. Without a nice PA and some time spent, the difference is less meaningful than the cost merits, but you never know when it might pay to own it I guess.

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Okay, that makes a lot of sense. If even a good PA will be a limiting factor, and render the Sennheiser 421 useless, then needing another instrument mic (mainly because I want to use the SM57 I have as an extra drum mic) we are back to the question of SM57 Vs. Sennheiser e609 Vs e906.

The e609 is about ten dollars more than the SM57 and the e906 about $80.00 more than the e609.

Does this make any difference in your eyes as to which to choose?

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Quote Originally Posted by ChiroVette View Post

The e609 is about ten dollars more than the SM57 and the e906 about $80.00 more than the e609.

Does this make any difference in your eyes as to which to choose?
You need a stand for the SM57,,,, so, the e609 is a more economical choice overall.

Looking "down the road", the MD-421 will sound killer on floor-toms.
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My serious thoughts:

The Sennys are handy because they require no stand on small stages. Handy for amps, but not so much when you need to mic a sax or a snare.
The SM57 is handy because it can be used for almost anything and every soundman you ever have will know it immediately.

If it was my choice I would buy the SM57 (and did 6 times...I carry a few of them.) They became ubiqitous for a reason. Nothing wrong with the Senny, just not the mic I would pick of the choices given.

EDIT: Buy Andy's mic and call it a day. It is one of those purchases you never regret. No one ever says "I wish I hadn't bought that killer mic." The e906 is $200. Andy's 421 can't be that much more money than you were considering anyway.

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With all due respect, I think that an SM57 will provide you with greater over-all usefullness and utility than a Senn e609, if you are still building a basic inventory of microphones. The Senn e609 might make more sense if you play crowded stages or don't have enough mic stands to go around.

I know from your prior posts that you have no interest in whether your gear can meet a rider for an "A" list act.
I don't have the experience to tell you whether you will be able to hear any difference thru a PRX system with a Senn 421 vs an SM57. My suggestion is get all of the basics first, then get specialty gear if you need or want it. FWIW, I'd rather spend the extra money on K&M mic stands (as opposed to On-Stage or similar) than on one fancy mic.


Mark C.

Edit: I see others have made the same points already.

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IMO any one of the mics listed would be a good choice. You can't beat a good deal on a used 421. My preference out of the original 3 for your particular application would be the e906 because most people agree they sound as good or slightly better than an sm57 (a different flavor though) but most importantly (for you) it has the 3-position HF rolloff. So if you don't quite get what your looking for at first, chances are you can get closer by taking advantage of this flexibility.

As always, you can never go wrong with the universality and flexibility of an sm57.

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Condensers are used often on guitar amps, but not as often at the club band level. Decent ones are usually more money than dynamics of the same quality. Condensers are are noted for good high end which most guitar amps don't really need. Gain control is somewhat more sensitive which is not always a good thing in combat audio. They CAN be more fragile than dynamics are. When you weight the benefits to the drawbacks, they just aren't bought as often as dynamics are at the club level. Lastly, most bar band PA's are not high quality enough to benefit from the difference they can make.

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Quote Originally Posted by agedhorse View Post
I have a very clean 421 looking for a home.
What are you asking?

Quote Originally Posted by Art Flood View Post
When I started gigging we used two Fender Twins as the PA. They are bloody loud!

I am wondering why you are having to mic a twin in the first place - are you playing a stadium? Hope its not a bar gig smile.gif
Honestly? Because we are a Grateful Dead cover band and we really try to keep our stage volume very low. My amp is usually right near the drummer, and if I turn up loud enough to project my sound into the bar, it basically blows him out with lead guitar volume. So better to put me into the PA and leave my stage volume at about "2."

This also helps because we are a band that plays with a lot of dynamics.
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