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microphone

#3
Hi.

Cheap:

Shure SM58

Good:

AKG D12 (if You can find one).
Sennheiser MD421.
EV RE20

I use the first two of those "good", still waiting to find the RE20.
I'd be gladly willing to pay the amount I paid for the D12 & MD421 back in the day to get a RE20 of the same vintage as well, but that ain't gonna happen no mo ;).
Unless it's very hot or very broken.

Regards
Sam
 
#4
Another vote on the Heil PR40 if you can afford it. It's been great for live sets and for studio applications.

I bought that and a z-bar mic holder and have been so happy that I did.
Invalid Link Removed

Now when I play shows, I explain to the sound guy I've got a nice mic and a stand (I know where to position it to get the response I want), and all he has to do is hand me a line. It was a great decision for live sound piece of mind.
 
#5
T-Bird said:
Hi.

Cheap:

Shure SM58

Good:

AKG D12 (if You can find one).
Sennheiser MD421.
EV RE20

I use the first two of those "good", still waiting to find the RE20.
I'd be gladly willing to pay the amount I paid for the D12 & MD421 back in the day to get a RE20 of the same vintage as well, but that ain't gonna happen no mo ;).
Unless it's very hot or very broken.

Regards
Sam
Click to expand...

I haven't used the Heil that others recommend, but the ElectroVoice RE20 is fantastic. The Sennheiser MD421 is close behind. Neither is cheap, but neither is particularly expensive either.

I personally would stay away from the beta 52, AKG D112, or other kick drum mics. They are designed primarily for drum use and tend to color the sound accordingly (low-mid hump and a bit of a bump where the click sound is in the upper mid range)
 
#6
It's pretty hard to beat the trusty old SM57 for micing cabs or the SM58 for stage vocals.
But also check out the Sennheiser mics...
the Sennheiser E35 works great for either and the Sennheiser E609 and E906 are great for cabs. Many prefer the 906 but I've used a 609 many times and it sounds just fine.

Also take a look at the mic mounts for cabs made by AmpClamp. I've been using those for several years and they are a good product.
 
#8
Confused yet, OP?

Here's a link I found voicing some opinions on the Heil/EV conversation:
http://www.talkbass.com/forum/f15/micing-svt-heil-google-page-ranking-40-vs-ev-re-20-a-652913/
Theres a listenable link of the EV on page 2 (mid page)

Here is a link I did with the Heil PR40 vs a Palmer DI
http://www.talkbass.com/forum/f43/palmer-pdi-09-vs-heil-pr40-audio-1007171/
(It's at the beginning of every sequence - just read my post)

The AKG P2 mentioned above:


Granted these are all different applications and not a really true sense of the mic's capabilities but I figure any clips available to help out before making a purchase can't hurt. If you guys have any other audio of mics in application - you should post it.
 
#11
Hmm.

I would rather let the sound guy use his own mic. He'll be used to dealing with that mic at least, and he's going to have very limited time to get your mix working so the less variables the better.

Also if I was a sound tech (which I have been) I would consider this, at best, to be a sign of a lack of faith. And at worst to be a visiting instrumentalist interfering from a position of ignorance in a resident sound engineer's business.

Anyway, all the best. :)
 
#12
@kevteop:
I think you might underestimate the kind of sh*tty clubs you sometimes may find yourself playing ;), or also the working knowledge of the musician coming in.

Some of the places we play are equipped with close to nil when it comes to bass amplification. As in, a broken down, static-ridden Behringer DI as the choice du jour. I've found that 95% of the guys I talk to before the show are really receptive to my mic option, and if they're not than so be it.

I always poise it as a question, and offer another option. Like "hey, I don't know what you planned for bass tonight... but I've got a really nice even-response mic and stand, if you want to use it." If they are insistent on using their particular setup, then that is as far as the conversation goes. Usually, the sound guys are open to hearing some info from the band.

And on multiple occasions, I've offered up my mic and stand before the show for ALL bands. If it's a nicer solution than the house equipment (which in most cases it has been), they'll end up using it the whole night. No major setup adjustments, they're happy because sound went well, bands are happy because they're benefitting from it, and I'm happy because I get to hear my mic in action.

Yes, it is the sound guys job to make the band sound the best as they can with what they have, but that also includes input from the band themselves. You shouldn't come into the situation (either party involved) and assume the other guy doesn't know his gear or what he's doing. Either of you wouldn't be getting paid if the other didn't exist.
 
#13
Hi,

Downunderwonder said:
Get ready for cheap AND good.

AKG p2 is near as flat response down to 30hz and $100. You must get a $5 steel conversion 3/8 to 5/8 as the body of the mount is plastic.
Click to expand...

I'm very interested in this mic. I love "more bang for your buck" equipment. :smug:

I'm having a little trouble finding the adapter. Do you have a link? Thanks!

EDIT: Something like this?>> [Invalid or Expired Link Removed]

Thank you for your indulgence,

BassCliff
 
#15

Have you seen the frequency response for the Shure 57 and 58? Ten or more dB down at 40 Hz, which is approximately the fundamental of an open E string.


Shure_SM57_freqResp.gif


sm58freq.gif



Regards,
Wayne A. Pflughaupt


Administrator, Pedulla Club #45
Administrator, Tobias Club
Big Cabs Club #23
Pedulla Club #45

 
#18
BassCliff said:
Hi,



I'm very interested in this mic. I love "more bang for your buck" equipment. :smug:

I'm having a little trouble finding the adapter. Do you have a link? Thanks!

EDIT: Something like this?>> [Invalid or Expired Link Removed]

Thank you for your indulgence,

BassCliff
Click to expand...
You're onto it. The mic comes with the reverse steel insert down to 3/8, but the plastic isn't up to being mounted and remounted.
 
#19

D.A.R.K. said:
You forgot about proximity effect.
Click to expand...

Proximity effect is merely going to boost the level of the mic’s low end, not add extension where there isn’t any. Shure says as much in their own literature. I’ve used 57s to mic bass cabinets, and the low end just ain’t there. Switch to something like a kick drum mic and it’s a world of difference.

Regards,
Wayne A. Pflughaupt


Administrator, Pedulla Club #45
Administrator, Tobias Club
Big Cabs Club #23
Pedulla Club #45

 
#20
I've used 57's with great results. That 50 hz boosted in volume is quite adequate for some things.
Of course, this also depends on the previously mentioned factors, all of which affect the outcome of the big picture.
Horses for courses, as they say. I'll give anything a fair shot.

WayneP said:



Proximity effect is merely going to boost the level of the mic’s low end, not add extension where there isn’t any. Shure says as much in their own literature. I’ve used 57s to mic bass cabinets, and the low end just ain’t there. Switch to something like a kick drum mic and it’s a world of difference.

Regards,
Wayne A. Pflughaupt


Administrator, Pedulla Club #45
Administrator, Tobias Club
Big Cabs Club #23
Pedulla Club #45
Click to expand...
 

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