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That mic debate - RE320 vs. PR40 vs. D6 vs. ...

Best all-rounder mic for the price?

  • EV RE320

    Votes: 3 12.0%

  • Heil PR40

    Votes: 6 24.0%

  • Audix D6

    Votes: 0 0.0%

  • AKG D116

    Votes: 0 0.0%

  • Other (please specify)

    Votes: 16 64.0%
  • Total voters
    25
#28
My preference lately for recording is an SM7b in front of my Ampeg BA108 thru a GT Brick and a 160XT. Then, as said above, a parallel DI (into a VC3Q in my case) for the bottom. I'll note that the VC3Q has enough low end control with its compressor and EQ that I can get a good result even if I go into it in parallel with the mic track from the Brick's "INST THRU".

A similar, cheaper mic - if you can find one - is a Peavey PVM 520i. Head to head, it's brighter and not as "dense", somehow, as the SM7b, but in the mix it's about the same.

Both the RE320 and the MD421II work well, tho', and the MD421n even better, but I hate using vintage mic's on loud sources. And yes, a '57 or '58 will work for the top end, especially if you are using a small tube amp like a ProJr, etc., but you'll really benefit from a added DI, there.
 
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#29
I like using two mics(ala Steve Albini?) and like what I got so far. I just started experimenting - I usually went one mic only, and used to only go D.I. but now I prefer mic'ing.

I'm using an Audix i5(it goes much lower than an SM-57) and an SM57. I plan on eventually replacing the Audix with maybe a Heil Pr30 later on, as it sounds clearer/smoother than the Audix. I would go PR40, but I think the PR30 might have better presence while still retaining the bass. (Plus I think the PR30 looks better...ridiculous, I know)

It sounds like this
Phase-matched here(and slight EQing):
Playing: 52117b.mp3 - picosong

(I forgot to line up the tracks here, but it's a bit crunchier):
Playing: 51317_I5+SM57.mp3 - picosong

(My Hi-Beams are about 9 months old here, so keep that in mind:) )
 
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#30
FWIW, the I5 is not all that different from a '57. The reason for using the SM7 (or the RE20, PV520i, D6, etc.) is that they are large diaphragm and should give a better low-end.
Often times you'll read about using a large-d with a '57, the former for the lows, the latter for the highs, with the mids covered by the overlap (pass filters are sometimes used, altho' usually on just one of the tracks).
When using a parallel mic'd track and a DI, most will say they use the DI more for the low end - for me, it depends.
There is no "right" answer, of course, just giving some back ground.
 
#31
vvvmmm said:
FWIW, the I5 is not all that different from a '57. The reason for using the SM7 (or the RE20, PV520i, D6, etc.) is that they are large diaphragm and should give a better low-end.
Often times you'll read about using a large-d with a '57, the former for the lows, the latter for the highs, with the mids covered by the overlap (pass filters are sometimes used, altho' usually on just one of the tracks).
When using a parallel mic'd track and a DI, most will say they use the DI more for the low end - for me, it depends.
There is no "right" answer, of course, just giving some back ground.
Click to expand...

Zombie reply, but the I5 has significantly more low-end than my '57. I want a 421 or PR30 to replace it eventually, though. It certainly buries the SM57 in low-end though. Esp when placed on the grill.
 
#34
57/58 info

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One can do the same thing as the proximity effect with EQ during recording. Same for really any mic.

Focus on the overall curve, accuracy, and performance of the mic across the whole bandwidth and don't worry if one sounds less bassy. It just may have more of a pop filter, which sit's it farther from the cab and less proximity effect. EQ has more control over proximity anyhow.
 

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