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Mic Help Please


xOriginalNinjax

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Ok, I'm goin in less than an hour to buy a mic for recording, as my step-dad is minus one mic. It will be for me micing my bass cab (yes, I'm running direct as well, but that Ampeg 410 tone only comes from that 410...and I love my tone from my cab) so what should I get? We play in drop D, if that matters any at all. I like the midsy growl I get from my cab, and am running direct to get the "thump".

 

I'm thinkin somethin of one of the following:

 

Shure Beta 52A (Most expensive...last choice...but if it's the best...)

Shure SM 57 (3rd choice for instrument versatility)

Shure SM 58 (2nd choice for full out versatility for anything)

Shure PG52 (First choice from price and frequency and it seems like a cheaper version of the Beta 52...which wouldn't be a bad thing)

 

 

My first instinct is to go with the PG 52 for it's lowest frequency response, but I wouldn't mind owning a 58 for versatility. The price difference isn't a big deal, but if you have other suggestions, they need to be under $200 after a cable and stand.

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Great ideas so far. That AKG is just out of my budget though. I really shouldn't be dropping over $200 for mic, stand, and cable if possible. The 57 sounds like a good idea to me, as does the PG52...I'm just debating on those anymore I think. I dunno. Any other suggestions? I do like the idea of the 57 picking up the "character" of my cab. The previous recording we did, I used an SM 58 knockoff mic, and it sounded great, so I'll probably just get a 57...cuz i LOVED how it came out.

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If you are recording in general and do not have a SM-57 then get an SM-57. If you have a nice selection of mics (including a 57) then I would thimk about special bass/kick mics.

 

A friend of mine owns his own studio. He has been a Grammy nominated and Dove winning producer. When he started out he could only have one mic. He asked everyone what to get. They all said "If I only get one it will be a 57."

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I'm thinkin that I'm goin with the 57. The DI is the DI out of my Ampeg head, which isn't bad, it's better than the ones I'm used to using and it has a volume on it, so I don't clip the board either. I'm not against going used, but I need it short notice, so it's not an option. :( otherwise I TOTALLY would.

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If you don't already own at least one SM57, I strongly recommend owning at least one SM57. How clear is that? :D

Seriously, it's amazing what these mics can do in the right hands when paired with a serious mic pre. My 57 thru my old Earthworks LAB blew away my CAD E100 thru a Mackie pre...and that's using the Mackie's inserts so the signal didn't get degraded going thru the board.

So I say, start with one 57, and when your ready to expand, simply add a 2nd. From there, upgrade your mic pres and AD/DA converters. You'll get a LOT farther than buying into all the marketing BS spewed out by the publishers these days.

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If you can get the cash, get the Beta 57A. It's more expensive than the SM57 but less expensive than the B52.

 

It's by far the most versatile (i.e. good sounding on just about everything) microphone on the market. It's got a tighter pattern, better frequency response and a more durable head than the SM57.. You can't go wrong. I have a couple that I use on vocals, my bass rig, percussion, snare drum, guitar cabs, etc. and it works nicely on all of them.

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I vote for the 57. As I've said a million times before, you can never have enough 57's.

 

On the D112 it's my least favourite of all the "low frequency" mics. The Audix D6 is fantastic, great tight low end with a clear high end. When I mic bass cabs in the studio I use a Shure SM81. Expensive, but definitely my choice. Live I'll use a D6, sometimes a Beta 52, if neither of those are available, an SM57 always does a fantastic job.

 

Also, don't get a Beta 57 if you're thinking of that. They're too directional so finding the "sweet spot" is a chore, as well they're more tailored as in they have a brighter high end and some cut to the lows.

 

PS take mic questions to the live sound or recording boards.

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Out of the options you give, get a 57 if you don't have one. If you do, go with the Beta 52 and then the 58. That's the order I'd do it in, but that's just me.

 

For other options. The Audio-Technica ATM25 is in your price range, and looks interesting to me for bass cab/kick drum mic'ing (Mojo Pie gave it a great review), but I've never used it so I can't vouch for that. The EV RE20, or a Sennheiser 421 would be good too, but both are out of your range. Neither are straight up bass or kick mics, but they do a great job (the EV was basically THE mic from kick mic'ing at Motown, back in the day.) I've also seen people use mics similiar to the Sennheiser E 604 or E 904 on bass cabs live, but again it's not something I've done. There's also the Audio Technica ATM250, or the Audix D-6 that just fall into your range (I'm browsing the Sweetwater catalogue at the moment.) They're both cardiod, which some people don't like in kick/bass mics, and look promising for bass cabs, but I haven't used them so I can't say for sure.

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Also, don't get a Beta 57 if you're thinking of that. They're too directional so finding the "sweet spot" is a chore, as well they're more tailored as in they have a brighter high end and some cut to the lows.

 

 

The Beta 57A does have a tighter pattern than the 57, but that's nothing but a positive thing in a live situation. It's got way more gain before feedback and much better off-axis rejection than the SM57, which for live sound is most certainly an advantage. I have too say that I've never had trouble finding the sweet spot with a Beta 57A..

 

It's actually got a wider frequency response than the SM57 as well, more bottom end and more sibilance band and doesn't have that 2kHz bump that the SM58 has.

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