best live performance mic for guitar is......

Discussion in 'Recording/Live Sound' started by mcdes, Jan 22, 2008.


  1. mcdes

    mcdes Member of no importance

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    i know this has probably been done to death, please bear with me?:rolleyes:

    ive been upgrading my gear, guitars, amps, speakers and cables etc, and been thinking about mics.

    i play at church etc and use the gear in my signiture. im thinking about getting my own mic to get as transparent a sound as possible and as close to what is actually coming out of the amp, if possible? if we can keep it simple with out delving too much into environments, room size etc, but if you must, then divulge. ha

    so far i have looked at the sm57 and the sennheiser e906. but have not heard them yet.

    what are the best mics for me in these price brackets?

    up to $500
    $500-$1500
    $1500 up? no price too high!

    thanks in advance
     
  2. mcdes

    mcdes Member of no importance

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    bump, anyone, anyone at all?

    no bites? hard to believe! one answer?

    paalleeeaaassssseeee?
     
  3. bchamorro

    bchamorro Member

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    The SM 57 is the most popular live performance mic for guitar cabs.
    It is also the most popular in the studio.

    Go with the SM 57. Start from there.

    Then try the e609 or even then Sennheiser MD421
     
  4. puls

    puls Member

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    shure sm7
    re20 (is that an electrovoice or audio technica ?)
    i believe keef richards used a re16 for a long time

    guitar cabs sound great w/ ribbon mics, but many consider them too fragile for live use

    sm57 is a good bet though

    hope that helps

    jwp
     
  5. wolf9309

    wolf9309 Member

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    The 57 is really the one. I also like the audix i5. Both are under $100.

    the only mic I would use live for guitar that would reach one of the other price brackets would be the sennheiser MD-409, which probably goes for $400-500 cause they don't make em anymore. I hate all the e609's I've used, and never gotten to try an e906.

    You really can't go wrong with a 57.
     
  6. puddinstone

    puddinstone Supporting Member

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    I always like the 609 or 906.

    609 seems a bit more "colored" to me, while the 906 is more transparent maybe? I've never compared back to back but have used both extensively live in lots of different venues.

    Plus, I love the fact you can hang it over the front of the amp and not have to worry about bumping into a mic stand.
     
  7. guitarcec

    guitarcec Supporting Member

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    i've been using the Heil PR-30 lately on my amps at church, and i love it. the sound guys are really pleased too. it boosts all the right freq - if anything, they have to roll off a little highs - shelf at 5k, -1.5dB. sounds phenomenal in my ears. before that, i was using an AT3030 that i liked a lot, just not quite as natural as the Heil.
     
  8. Zero Point

    Zero Point Member

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    Shure KSM32. Really surprised me. I found it to be the perfect balance for cabs in a live situation.

    I know why David Gilmour chose it for his last tour :)

    In the studio I prefer a rehauled Studio Projects C1 (I replaced all electronics with higher quality parts and high grade wire) on axis, mixed with an SM57 off axis. Both about 4" from the speaker.

    Most of the sound is the 57. I then bring up the C1 (A Nuemann u87 clone) as a blend. Sounds pretty nice.

    But I think you can get the KSM32 for about 500. And for once Shure has a mic actually worth that price. ;)

    -ZP
     
  9. MichaelK

    MichaelK Member

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    I use a E609 because it sounds good, does what it's told, and stays out of everyone's way. People destroy **** when it's on a stage for some reason.

    I've never tried a 906. Some people say it's marginally better than a 609, some say it's WAY better, some say not as good. It's the internet, what can I tell ya.
     
  10. TommyStrat

    TommyStrat Member

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    Howbout two mic set ups? How bout one mic in the rear of the amp? I am not liking my mic sound much these days and hear a lot of mids and I am not able to get it taken out where it is really transparent. Any help would be welcome.
     
  11. loudboy

    loudboy Supporting Member

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    Start w/a 57. You can never waste money on one of those.

    If that doesn't work, try an I5 or a 609.

    Then stop, because the problem isn't the mic...

    Keep in mind, all of the posts about finding a big, transparent sound may not be close to what's needed for a good mix. Guitar is a mid-range instrument, and in a live mix it needs to be focused in that area, as well as not get in the way of the vocals, or it will ruin the rest of the mix.

    That's why 57's often work so well in a live setting.

    Loudboy
     
  12. Bassomatic

    Bassomatic Member

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    Hmm. Never tried my KSM32 for guitar cab.

    That said, I've had good to great results with: Kick drum, bass cab, acoustic guitar (ancient small bodied Martin - maybe just the right fit), and my voice.

    Great workhorse mic, but for guitar cab? I'm skeptical, Gilmour or no.
     
  13. guitarcec

    guitarcec Supporting Member

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    yeah, i tried a KSM32 for a few weeks, but liked the 414 infinitely better...

    for rock guitar, condenser's just don't do it for me anymore, unless they're paired with a good dynamic. jmo...
     
  14. buddaman71

    buddaman71 Student of Life

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    I was part of an extensive mic shootout at Sweetwater Sound a few years ago, and the Royer R121 was the closest to sounding like the amp tone in the room. It is warm and rich and doesn't add that glitchy 2-3k sizzle I have always disliked in 57s. (I know some love that tone; it's just not my preference...)

    They are VERY robust to SPL and fairly sturdy. Aerosmith toured with them extensively, so they aren't delicate. The ribbons ARE very sensitive to air pressure though, so one should never blow into one.

    I really loved the tone of an R121 and an E609 on both my Budda SD18 and Lone Star Classic 112.

    Peace,
     
  15. localmotion411

    localmotion411 Supporting Member

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    There is generally nothing not to like about the SM57. Cheap, available everywhere, great in the studio and on stage, and can just about do it all. If you buy one and don't like it, you can use it to mic other things, such as drums.

    The e609 is getting to be a favorite among a lot of players and sound engineers; does what the SM57 does, just a different flavor. Mix it and an SM57 for a nice sound.

    Royer 121's are very expensive but a standard guitar cab mic in professional studios. Can't go wrong with that one.
     
  16. loudboy

    loudboy Supporting Member

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    Or alk across the room without a windsock on it.

    Or unplug your guitar without putting it on standby.

    Don't ask me how I know this...

    R-121's are amazing, but using one in a live rig if you're not doing arenas is pretty ludicrous, IMHO. So many things can go wrong...

    Loudboy
     
  17. Bassomatic

    Bassomatic Member

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    I've never had the pleasure of using the much-vaunted Royers.

    How do Royer guitar tracks hold up in a dense, aggressive rock mix?
     
  18. mcdes

    mcdes Member of no importance

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    this is great guys, keep it coming. just reading up about the royers 121 mic now.

    looks nice, might be a good idea to get a sm57 too, i mean, they arent that expensive.
     
  19. CincinnatiSi

    CincinnatiSi Member

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    ditto on what everyone said on the '57. Also check out the EV/Blue Raven. It has similar specs as the '57, but has a larger diaphram.
     
  20. mischultz

    mischultz Member

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    For live, I'd start with the Audix D3 and Sennheiser e906. Not a problem in the world with the 57; in fact, you ought to have one simply on principle as it's a wonderfully versatile and practical piece. But I'd take (and do) either of the above as a matter of preference.

    Michael
     

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