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Double Bass Which mic: Shure 57 or 58?

#42
RustyAxe said:
Although often used, the SM57 (and 58, for that matter) have significant rolloff somewhere around 175hz. Not ideal for a bass! I prefer my "cheap" AKG Perception 150 condenser. Flat across the entire range
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Those charts are the response on a distant source. The response gets quite grotesque when the source is close (which is the case with most all directional microphones).
 
#43
You could argue that the low end roll off is exactly what makes the sm 57 a good mic for live work--most of the time, very low frequencies are hard to hear, hard to amp, and likely to produce low rumbling feedback. Look up "high-pass filter," for example, to see how many bassists here think a hi-pass filter is the best thing on the amp. I use an Ai clarus, and the often roll off frequencies below 80 - 100, depending on the room. Sometiems I roll them off even higher.

There are many many mics with a flatter, more accurate response than the 5, no doubt. In my experience--which is just my experience, not a claim to eternal truth--it's very hard to manage a perfectly flat, perfectly accurate signal. If I was playing a lot of venues where a sound guy who knew what he was doing was running my signal into a house pa, big stages with lots of distance between me and a drummer, I'd go with a good condenser. As a local gigger who generally runs without a PA or runs while attempting to use sign language to explain the concept of midrange to a "sound guy," I'd prefer the 57. Less hassles, decent sound. My only point was that if the original poster tries a 57, the worst thing that can happen is for less than $100 he gets a decent sound and learns a lot about what he does and doesn't want from a mic.
 
#44
thedreaded6 said:
But wouldnt a condenser like that get a lot of bleed in a live situation? particularly if you are close to the drummer?
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Once you get loud stage volumes ANY mic is the wrong way to go. But the condenser is no more prone to bleed than is any other cardioid mic. I use an Upton Revolution II pickup if I'm doing rockabilly. Pretty much, I use the AKG for bluegrass/country/roots acoustic stuff.
 
#45
TimmyP said:
Those charts are the response on a distant source. The response gets quite grotesque when the source is close (which is the case with most all directional microphones).
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Your graph is depicting "proximity effect" ... exactly what mics like the SM57 and SM58 are tailored to diminish, hence the bass roll off.

I have two 57's and two 58's in my mic locker, and use them regularly for vocals and other acoustic instruments. I just don't find them optimal for double bass. To each his own. Just sharing one man's opinion/experience.
 
#46
PB+J said:
You could argue that the low end roll off is exactly what makes the sm 57 a good mic for live work--most of the time, very low frequencies are hard to hear, hard to amp, and likely to produce low rumbling feedback. Look up "high-pass filter," for example, to see how many bassists here think a hi-pass filter is the best thing on the amp. I use an Ai clarus, and the often roll off frequencies below 80 - 100, depending on the room. Sometiems I roll them off even higher.
Click to expand...

A high pass is the tool to use only when the right tool is not available (the right tool being a parametric filter).

There are many many mics with a flatter, more accurate response than the 5, no doubt. In my experience--which is just my experience, not a claim to eternal truth--it's very hard to manage a perfectly flat, perfectly accurate signal. If I was playing a lot of venues where a sound guy who knew what he was doing was running my signal into a house pa, big stages with lots of distance between me and a drummer, I'd go with a good condenser. As a local gigger who generally runs without a PA or runs while attempting to use sign language to explain the concept of midrange to a "sound guy," I'd prefer the 57. Less hassles, decent sound. My only point was that if the original poster tries a 57, the worst thing that can happen is for less than $100 he gets a decent sound and learns a lot about what he does and doesn't want from a mic.
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The only mics that are flat-ish when used up close are those with no proximity effect. The RE20 and omni mics are about it. The RE20 is much easier to manage than any mic with proximity effect. Once proximity effect rears its ugly head, an extended LF response adds little if any additional difficulty.
 
#49
TimmyP said:
More likely finds what he doesn't want from a mic. And he perpetuates the popularity of a microphone that has been overrated for 30 years. I'd get a D4.
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but how many thousands of albums etc have been tracked with a 57??? and all of them sound bad i think not.....if they are so horrible then why do the professionals use them?? most studio guys are way anal about quality sound if they hear somethings that are much better they use it regardless of where it came from.... but i dunno just an opinion...:ninja:
 
#52
going back to the original post, if you've never played through a mic before my suggestion is to simply borrow one (or two or three) and just play. experiment. feel the feedback. beat your head against the wall trying to figure out amp placement, blending with a pickup, etc. you may just hate the experience. and, honestly, if you love the experience, save your money and buy a dpa 4099. it's simply the best.
 

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