that way gets some of the amp tone into the picture for BG, it's an electric instrument so that's part of the tonal equation.
I = inject
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Shure sm57 question.
- Thread starter fuzzy beard
- Start date
that way gets some of the amp tone into the picture for BG, it's an electric instrument so that's part of the tonal equation.
I = inject
Thanks. Again, I'm not trying to argue, but your description is what I always thought DI was all about. Otherwise, why wouldn't you just plug directly into the board and use the PA monitors for on stage sound. I like for the audience to hear what I hear. No reply necessary; just letting you know where I was coming form.
But your EQ is set for your speaker cab, not for the FOH speakers. Different ball game. You'll never sound the same, anyway.
nope, no argument heard, John D
This comment ^ plus (generally) your BG output is high impedance (if passive) so it can't drive the signal the necessary distance to the board w/o serious degradation. DI's convert and send a low impedance signal (like a mic) to the board.nope, no argument heard, John D
Thanks, but I am very familiar with impedance matching.
John D said:
I've never heard the stage monitor that sounds like my amp does.
I have done gigs in exactly this mode, but I prefer to have control over the sound I can hear on stage - I tweak it constantly throughout most gigs. Since I'm not out front, I have no idea what the audience hears - the sound tech is out there, so he/she can handle that side of it.
You still won't sound the same by the time your sound hits the audience. It just doesn't matter as much as one might think, IMO. Your big beautiful wall of bass tone will closer resemble Swiss cheese, by the time the engineer makes room for the vocals, lead and rhythm instruments. Sad, but true.
The best bass tones I've ever heard in concert were a combination of mic and DI.
I have a SM57 and cable in my gig bag. I also have a DI. The 57 is a very versatile mic and I use it on both bass and guitar.
In my mind, you can't go wrong with a SM57.
In my mind, you can't go wrong with a SM57.
I should have mentioned that if I had to choose one or the other, mic or DI, I would choose the DI.
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but - if you do not think amp is essential to 'your sound' go w/ DI. there are many great options in $100 arena.
Looking at maybe trying to mic one of my smaller tube amps for a small summer party later this year.
I do not gig! And have never needed to be any louder than my Ampeg SB-12 can go anyway. Until now
So i am not looking to spend alot of money. There will be a P.A with sub at the party so just need to get a signal to the board.
I have read alot about the shure sm-57. I understand it is a workhorse. I also understand it is not great at any one thing but good at a LOT of things.
So what downfalls does it have as a bass cab mic?
Is there a better 100 dollar option?
What mics were commonly used on bass cabs with back in the day?
If you've got any sort of networking going on, I'd try to borrow a DI from someone. If you're going to be doing this, even once in a great while, it's probably worth picking up a cheap DI like this:
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Under 30 bucks on eBay. I had one for years as a "just in case" in my gig-bag. Not the "mostest bestest" but the few times I used it it was certainly decent for the bucks.
Bass plugged into this, mic lead to the PA, patch lead from this to your amp's input. If there's gonna be a sound guy, chances are there'll be a DI there with the PA anyway.
If we're going to judge the sound with our eyes, here's the graph for the Heil PR20 UT. It doesn't look any better than the SM57 on paper. The SM57 will work fine for the OP's purpose.
A 57 will do you fine and it's a useful mic for lots of things. If you want to have a mic in your kit for miscellaneous applications, you cannot go wrong with a 57. They have been around forever for a reason.
Yeah, Paper always works better that one's ears. 
Go buy one. Have a listen.
My point was that the Heil will do the job, sound cleaner, and after the gig, the OP will have a better vocal mic. The Heil makes a 58 sound like you're singing through a pillow.
Go buy one. Have a listen. My point was that the Heil will do the job, sound cleaner, and after the gig, the OP will have a better vocal mic. The Heil makes a 58 sound like you're singing through a pillow.
If we're going to judge the sound with our eyes, here's the graph for the Heil PR20 UT. It doesn't look any better than the SM57 on paper. The SM57 will work fine for the OP's purpose.
Pardon my ignorance. I call that plugging directly into the PA.
Yes, but to balance the impedance to the correct level for the PA mixer, you need to use a DI box like the Behringer D120 linked above.
I have one of these Behringer 'cheapies' and it works very well...well worth the $30 IMO.
^^This, I have one and also their "Pro 25" which is the same element in a cheaper body. You might find a Pro 25 on ebay or at a pawn shop for well under $100.
The ATM is smoother with a little more extended in the low end. The Pro 25 has a nice bump around 80hz but rolls off before the ATM. The Pro 25 is great for old school R&B and classic rock. The ATM for more hi fi sound like jazz or prog rock.
If you want an inexpensive mic that will work better than an SM57, try a PG52 or SM52. They both have more bass response (although they have less treble). However, the SM57 works reasonably well for bass guitar, and I wouldn't hesitate to use one - I use a Beta 57a, but that's a bit more money (about $40 more).
