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To be fair, the different headbasket design between the two mics yields different results up top, so it's not purely an aesthetic difference. In more practical terms the area where the two mics differ is up higher than most would find terribly usable in a mix situation so it boils down to very little, if not nothing.
Don't get too hung up on this. A 57 or 58 are both perfectly usable for bass. They roll off pretty quickly down low so you'll potentially gain some benefit by blending in a low passed DI to fill things out, but that's not a reason to avoid using them.
HD421 or RE20. Yes, they are expensive. Yes, a 57 or 58 can work with DI, but that defeats the purpose.
Most sound techs who mic also DI, so might as well make the most out of it, though I would rather use one of those other mics you named. Still, if you don't have one of them and want to be cost effective and have the channels to do it, a 58 + a DI is a great way to go.
Salud!
Yes, the idea was to go with what I have now (SM58 + Rode NT2A, a cheap but fine condenser mic; I don't know if it's suitable for the task at hand, but it's free to try), but if I like these experiments I might well invest in some better mic, like the RE20 (I'm reading great reviews).
I also like the reamping response above, as it allows you to fine tune mic position and hear the changes in real time.
Thank you all.
Yes, the idea was to go with what I have now (SM58 + Rode NT2A, a cheap but fine condenser mic; I don't know if it's suitable for the task at hand, but it's free to try), but if I like these experiments I might well invest in some better mic, like the RE20 (I'm reading great reviews).
I also like the reamping response above, as it allows you to fine tune mic position and hear the changes in real time.
Thank you all.
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Maybe at larger venues. At most smaller clubs, you'd be lucky to get a mic at all. Even if you do, the chances of getting two channels are next to zero.
Given your well-documented and frustrated switch to DI, I'm a bit surprised to hear your successfully getting dual channels.
I don't even bother asking for dual channels. Never did. And I agree that it doesn't happen every day. But if a sound tech sets up a mic for you, chances are they also set up a DI. Also, if you're using your own PA, I imagine you can give yourself as many channels as you want, unless you're using a very small board.
An RE20 is an incredibly natural-sounding mic with a clear & wide low-end. It's a true standard for broadcasting for that reason. However, it's also incredibly sensitive and personally, I'm a little afraid of it for live use with a bass cab, having tried it for that a lot at one time. I once soloed the bass mic channel and listened to a whole low-volume conversation way across the stage. Use it for bass with that caution. You might end up with the whole mix in your channel, especially if it's anywhere near the monitors!
Salud!
In my case, I just want it for recording, not for live use. But it's good to know it's condenser-sensitive!
In my case, I just want it for recording, not for live use. But it's good to know it's condenser-sensitive!
For recording, a good multi-pattern mic is a good way to go. There is really no magic tone in a mic. How you position and record is a major factor on the recorded tone. It's common these days to do both a DI track, and room mic. Re-amping or plugins on the DI track can give you many tone options.
What about the Senn e609 (or e906)? In my admittedly limited research, that seems to be nearly as ubiquitous as the 57 when mic'ing a cab, with many using BOTH as supposedly a holy grail combo. Is that just hype?
Actually, the 57 sounds great on a bass cab, especially combined with a DI signal (which is what most will use anyway.
I know a sound guy who swears by his 57's and use them on almost everything, even low freq stuff like bass and sometimes kick drums.
If a mic has to be combined with a DI to sound good, then, IMHO, it proves that it's less than ideal for bass.
I know a lot of sound guys that to a lot of illogical things.
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