No. In terms of frequency response, it's virtually identical to the SM57...
MM
Good to know. Why the different model number then?
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Good microphone for recording bass cab?
- Thread starter Korladis
- Start date
Good to know. Why the different model number then?
- Jun 25, 2006
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- Owner, Pike Amplification & 3Leaf Audio
<OT>
What do you like about the kick mikes, Jim? Do you get all the lows of a DI? Do you get the speaker coloration of the mikes that have a higher frequency response?
Do tell...
MM
</OT>
- May 9, 2008
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- Proprietor Springvale Studios
In my experience one thing to look out for with multiple lines is
time alignment of signals.
Slipping one track on the DAW against another after recording or better still do it real time with a little labs phase tool as the DI.
but get it in phase within a very few degrees or you might have even less real bass than an SM 57 alone, even if you had started with a beautiful vintage U87 on a great cab with a superb DI and played about with the 180 degrees invert phase switch.
Because the SM58 happens to have a fairly pronounced bump in the midrange, that has been found to work especially well for vocals. So I should say the two models are almost identical - except for that bump. The SM58 is rather flat. The SM57 is very flat.
MM
AKD S7 is a large cardioid condenser mic. It has a high SPL... which is great for Bass guitar.
Check it out...around 200. or so
Check it out...around 200. or so
The Shure Beta 52 is my fave for recording bass (and kick drum as well).
SM57's are great for recording guitar, not so good for bass IMO.
SM57's are great for recording guitar, not so good for bass IMO.
I've had good results pairing a 99$ clean Blue "Kickball" with a dirty DI... controlling the blend of the two, you can go from raunchy grind, to smooth and woolly mids, all with pretty full sounding low end, by just changing the levels of each and the gain/drive of the DI...
add a little EQ in post... and you get a REALLY flexible abundance of Tone options...
The only drawback is that it needs phantom power...
add a little EQ in post... and you get a REALLY flexible abundance of Tone options...
The only drawback is that it needs phantom power...
Well, the mic is going to be for the "dirty" sound, as I have no way of recording my amp except with a mic.
The DI will be for clean sound.
I really need the prices of the other microphones, as the ones I've looked up are too expensive. One of the things the SM57 has going for it is that it's cheap. Are there any better alternatives that are priced similarly?
The DI will be for clean sound.
I really need the prices of the other microphones, as the ones I've looked up are too expensive. One of the things the SM57 has going for it is that it's cheap. Are there any better alternatives that are priced similarly?
I have to disagree with MysticMichael where he says the SM57 has a flat response. It's anything but flat, and Knumbskull posted the frequency responce chart in his post that backs my take! It's got a huge upper-mid to high boost and terrible low end response.
But he did give a great tip about blending a DI with a 57 wich is a great mix, so I'll forgive him!!!!!!
Again, I like the Sennheiser MD 421, I have also had killer results miking my B100-R with an AKG C414! These aren't exactly cheap mics but the results will kick butt!
But he did give a great tip about blending a DI with a 57 wich is a great mix, so I'll forgive him!!!!!!
Again, I like the Sennheiser MD 421, I have also had killer results miking my B100-R with an AKG C414! These aren't exactly cheap mics but the results will kick butt!
This is a proper answer.
I don't mind the AKG D12E either. For some reason AKG discontinued this mic; so they're rare.
I love the SM57 as much as the next guy, but it's not suited for micing low frequency instruments.
Edit: I wasn't going to mention it because of the price, but since prd004 did...yes the AKG C414 is a tremendous microphone.
"Bass mics" like the Beta 52, or Akg D112 are terrible for bass guitar in my opinion. They scoop out all the mids!
Those type of mics were designed for kick drums so you get a real-real low end woof, and the high snap of the beater hiting the drum head, everything in between is totally scooped. You need those mids for the bass to sound right and more importantly be heard in the mix.
Those type of mics were designed for kick drums so you get a real-real low end woof, and the high snap of the beater hiting the drum head, everything in between is totally scooped. You need those mids for the bass to sound right and more importantly be heard in the mix.
- Dec 23, 2008
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- Staff Producer / Audio Engineer: Blue Tower Studio, Denver, CO & Mighty Fine Productions, Denver, CO
Every time I use a subkick I'm more and more impressed with the high-mids (i don't know it's specs, but I love the way it sounds up to 2k or a little higher) that it captures in addition to the super warm & thick sound on the lower frequencies. Don't think I've ever used it on it's own; always as a supplemental source, it's never been quite detailed enough to stand on its own for bass guitar.
Same goes for a 112, it's just a (very) different sound -- great for a midrange-heavy jaco-esque sound that can really whack you right in the chest when it's nice & loud.
I've also found that a subkick can take a lot of EQ and still sound great -- not the case with many other sources.
Fairly flat response, picks up lows with the best mics built (down to 20Hz), touted by Blue as one of their best mics for bass and vocals, but not cheap - around $700 street price.
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The AKD S7 is a large cardioid condenser mic, with a high SPL which is ideal for bass. around 200. or so..check it out
