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Shure sm57 question.

#41
John D said:
Just trying to learn here, but if that is so, why do most people like to take the DI signal post preamp and EQ? This seems to be the consensus from what I've read on TB. Also, what does the "I" in DI represent.
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Direct Input

Most soundmen will either ask or insist on "pre". They want a flat signal they can shape for their system. The low end boost you added to compensate for your cabinet's rolloff may sound like mush through their subs, or the high end you add for your tweeterless rig may sound like a ball peen hammer on an I beam through their horns. Some of my rigs have effects that need to go to FOH, and there is no way of separating that from my EQ, so they have to deal with it. But I usually accommodate them when I can. A happy soundman is your friend.
 
#43
gigslut said:
^^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.
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WOW! I have always liked Audio-Technica mics, but many people don't seem to know about them. AFter checking the website, I see that the bass end of that mic's response blows the others into the weeds! It also drops off like a cliff after 10K Hz, but that's well past vocal frequency range.

The mic shows as discontinued, so Ebay or Craigslist would be places I'd look to see if I could find one in the desired price range...but it's likely to be a lot more expensive.

The Pro25 frequency response looks equally good, and I like that it's hypercardoid. I personally dislike omni mics and avoid them for most uses. I find that I usually want to use the null area to mask background sound, which omnis don't allow.
 
#44
I paid $75 for my ATM 25, used at a music store, $30 for my Pro 25 at a pawn shop. That was about six years ago.

I haven't looked at the response charts lately, but I thought the Pro 25 got up to about 12K and the ATM 25 up to about 14K. Plenty of high end for a kick drum! The ATM 25 has gotten a lot of use in voice over work because it brings out the low end in male voices and has enough high end to capture sibilance. The ATM is also hypercardioid.
 
#45
Here's yet another $0.02: an SM-57 will totally get the job done. If this is a one off situation and you don't want to blow a lot of cash, it's a great all purpose tool for your rig. Hell, you may check out an SM-58 as well. Typically used for live vocals, the 58 has a bit more low midrange and might work better/differently. Remember: the entirety of the original 1969 Woodstock festival was recorded with SM-58's. Everything. On every instrument. While it's not the world's greatest recording, it's more than listenable.

A DI is a great option for bass in general. Giving the sound guy a dry signal straight from the bass will undoubtedly make him very happy, since it's much easier to deal with. As someone else said: let the sound guy worry about what the audience hears. In these situations your amp becomes your monitor and that's about it. Set up your amp so you're inspired and let the sound guy do the rest. You can pick up a cheap DI for $100 easily.

And remember: whatever route you choose, Guitar Center has a 30 day return policy do if you spend more than you want to you an always return the piece once the gig is done. You wouldn't be the first. ;)
 
#46
OP - a 57 will suit you just fine given your small vintage amps aren't really cranking the below 100hz stuff anyway. 57s are just so perfect for so many other uses that I really think every musician should own at least one.

If you watch CL religiously, you should have no problem picking up a used 57 in the $50-$60 range.

BTW - here's a great $30 knockoff:
GLS Audio ES-57 ES57 Professional Microphone Mic

I have one of these and the only difference I can hear between it and any of my real 57's is that it puts out a slightly hotter signal. Feels just as beefy and solid too.
 
#47
I always mic my bass cab. I carry a AKG D112 for live use. in the studio this winter we tried all kinds of high end mics and liked the SM57 the best, go figure. Use the 57 if you want you'll be fine.
 
#48
A combination DI for lows/57 on the cab for everything else is awesome if you're on a budget.

BTW, I half expected most folks on here to say DI, but what the hell is the point of having an SB12 in that case? Sheesh! We're not talking some Behringer rig here...we're talking the Ampeg SB12!
 
#49
Thanks for all the response! I now have several mics to look at.

Just to make things a little more clear. This will be a party at a friends farm. There will be a PA there from a local band that will also be playing. This will be a 3 day party about 30 or 40 people. Bomb fires and beer. Not really a big deal.

But me being so young in my musical journey and having a rep for having nice gear and little talent. I want to sound the best i can! And my SB-12 has the sound. I have no want to travel the country being a star. I am happy doing front porch jams and open mics. But i still want to present my self the best i can.

I just hate to drop a couple hundred dollars on a mic to use 1 maybe 2 times! I figured that what we have today has to be just as good or better than what we had back in the 60's and 70's and thats the sound i like. So a mic for that sound would be easy.

Thanks again for all the advice!
 
#53
The thing is there is not simple inexpensive solution best to mic and DI. The DI will get a clean fundamental signal to the PA and the mic will pick up any growl or tone from the amp, win win.

Shure has a lower line of mics and a PG 57-LC would be fine and you can still afford a basic DI for under 100 bucks. I have several PG mics that have served me well for a long time.

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#55
Just so the OP knows...

A Beta 87A and an SM57 are to completely different mics. For starters the Beta 87 and its older brother the SM87 are condenser mics which are as far as the general public is concerned are about as close to a vocal only mic as one can get. And as everybody knows the SM57 is dynamic. They could not sound more different. I don't know about the Heil's - but they are well liked.

Agree, if you want the approximate tone of your bass amp and do not want to go with a DI buy an SM57. You will use it again some day and could use it for any number of things.

Craig_S said:
If you're thinking of buying a 57, buy a Heil PR20ut instead. Then you'll have a great vocal mic when all is said and done. The Heil mics sound much nicer than the Shures in the same price range. I know this for a fact.

I put a PR22ut up against my Beta 87a and was completely amazed at how well it stood up. I have never sung through a clearer sounding microphone.
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#57
Use the 57! Crank up some low end and cut out some midrange mud on the mixing console and it will sound fine. If you can afford them, check out Beyer M88, Electro Voice RE20, Sennheiser MD421 and Shure SM7. Avoid kick drum mics, they are eq:d to get metal kick drum sound with fat bottom and a bright attack. Pretty useless for bass, IMO.
 
#60
+1 on the Shures. I miked an Ampeg B15 portaflex for years with a Shure SM57 for classic and art rock stuff with very agreeable results. Recently I worked with a drummer who used a 58 to mike his kick drum (it sounded great) and then noticed Charlie Watts doing the same thing. My guess is that the low frequency response of the 58 would make it an interesting bass mic live. For the kind of thing in mind here, especially if there's no one out front on a PA console, I'd just do the simple thing and mike the amp with a Shure. Just my 0.02.
 

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