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02-13-2018, 07:54 AM #1Dutchbopper Guest
Is the Shure SM57 still the best one? Does it do the job for both amped and unamped archtops equally well?
Regards,
DB
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02-13-2018 07:54 AM
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I use a Rode NT4, which I really like. It's a stereo mic.
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I think the Shure's a bit 'old-school' now, it's a dynamic mic so probably ok for miking an amp, but not that sensitive or high-frequency enough for acoustic sounds such as recording directly from an archtop.
I've got an SM57 and I find it a bit too 'woolly/boxy' sounding. I prefer a condenser or electret-condenser mic. for any kind of acoustic recording. The Rode mics are supposed to be very good, I will probably get one myself sometime.
At the moment I sometimes use an old AKG C1000s which is better than the SM57, but even they are a bit out of date now, the Rodes seem to get better reviews.
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SM57 for amp but I wouldn’t touch an acoustic with it. I use a Neumann tlm102, which has remarkable warmth. I typically create and artificial stereo image. The Rode NT4 also sounds great. As rob mentioned, it’s stereo so you get great depth with minimal setup time.
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Yes, SM57 or Sennheiser 609 for amp mic‘ing and Rode NT4 for acoustic. Neither breaks the bank and is good.
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shure 57 is still fine to stick in front of an amp cab/speaker and record...also great for snare drum and vocals in a pinch
but for micing an archtop guitar acoustically...you are way better off with a condenser mic..capable of far more nuance and clarity..in fact its always nice to record it with 2 mics...many great condenser mics available, depending on your budget...neumanns are always nice
cheersLast edited by neatomic; 02-13-2018 at 10:46 PM. Reason: sp-
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For recording acoustically a Shure SM81 is excellent. I thought I was clever when I sold a pair of them around 2000 at a profit, missed them immediately and cannot afford to replace them today.
For mic’ing an amp I replaced an SM57 with the Sennheiser e609. The e609 is easy to use and great at rejecting off axis noise.
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Big old ribbon mic like an old RCA. Local studio here has a couple of those and they are fabulous for miking upright basses, acoustic guitars, etc. Oh, wait, did you mean one that is actually affordable? I don't know what's affordable in ribbon mics, they all seem to be pretty speedy but I love the sound. The NT4 seems to get a lot of love but I've never tried one.
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I'm no expert on this but consulted with some.
Royer 121 is the old standby for amped electric guitar. Placed directly in from of the speaker. You have to turn up the volume a bit. It's a ribbon and is kind of pricey.
I was advised to try a pair of Peluso's for acoustic/classical guitar playing.
For plugged in archtop playing, using the Royer at the amp and one Peluso in front of the guitar can be nice too.
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Peluso is a new name to me, but having looked them up, this stereo ribbon mic looks very tasty:
Peluso SR 14 Stereo Ribbon Microphone
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I had a pair of their CEMC-6 mics for a while when I was doing a lot of recording and had great results...
Peluso CEMC-6 Solid State Pencil Microphone
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A lower cost Ribbon solution might be these guys...
MXL® Microphones - MXL R144 Ribbon Microphone
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Jonathan Stout has good tips and review on archtop amplification but more geared towards acoustic (and not cheap):
Rig Rundown 2017 — Jonathan Stout and his Campus Five featuring Hilary Alexander
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ribbons can be great mics..hence their recent resurgence after years of oblivion..but they require a bit more effort and are much more fragile to use & handle...they usually require a pretty good pre-amplifier as well
they have a warm wooly sound..that can be great in some applictions and suffocating (not enough top end) in others
rudy van gelder couldn't wait to get away from using ribbons and was one of the first studio guys in the usa to use the neumann condensers
lots of studios these days will mic an amp with a combination of a dynamic or condenser with a ribbon...to get clarity and warmth
i would recommend having a couple of good dynamic and condensers before moving on to the more "exotic" ribbon
cheers
ps- a great many ribbbons are also figure 8 patterned..which means they pick up sound from both sides of the mic...not always optimal in tight recording situations
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KM84 if you can $wing it!
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Originally Posted by omphalopsychos
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Originally Posted by Dutchbopper
I have an SM57, but to record amplified guitar I prefer the Sennheiser e609 nowadays. It's cleaner, more neutral and 'punchier' to my ears.
I don't have any high-end large membrane condenser mics, but I do have a Nady PCM 100 condenser and a Superlux h6a. Although the latter could be obtained for only €20 some years ago, I got better results recording acoustic instruments (flattop acoustic, vocals, sax) with it than with the SM57.
That being said, the SM57 would not sound bad, it's a great all purpose mic! So for a quick recording in a quiet room it would be a perfectly acceptable solution. It's just that an SM57 colors the sound (not always in a bad way, I love 'em for snare, hi hat and dirty guitar sounds!).
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Originally Posted by grahambop
Sometimes I add reverb to the master track and sometimes just to the delayed panned track.
However, I just picked up a Rode NT4 for super cheap on reverb. With that I keep the Neumann centered and pan the two RODE channels left and right respectively. It sounds incredible and much better than either mic separately. I’ll share some clips of the setup some time
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Originally Posted by medblues
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Originally Posted by omphalopsychos
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Originally Posted by omphalopsychos
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For recording with just one mic in front of the speaker i favor the Sennheiser MD441.
My favorite setup these days is a Royer R-101 and a AKG 414 in front of the speaker and a Schoeps MK4 pointing to the top of the guitar. Blending these i get away without having to use any equalization at all.
A lot of professional recording engineers use the Royer together with a SM57. It's certainly a successful combination but personally i don't like the SM57.
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I have always had SM57 and for a loud live sound reinforement, they are predictable.
Used them for recording too, but only on a speaker, not for acoustic.
I've not the budget for great condensor or ribbon, I do have some lesser type of condensor but they don't get used.
A year or so back, I bought this inexpensive ribbon "the t.bone RB 100" from Thomann (€66 / £58.32), and while it may not be good enough for all types of use, but it has "something" that makes it work really well for amplified clean guitar, it can capture a good Jazz sound.
John
the t.bone RB 100 – Thomann UK
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If You need something different, check Rode NT1A
Microphones - Studio and Recording Gear - musicsquare.co.uk
Condenser Microphones | Sweetwater
Condenser Microphones | Gear4music
Maybe it's something wrong with me, but i prefer Novox NC1 USB mic over Shure.
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I want the biggest and shiniest, valviest and most expensivist mike I can get. :-)
That said, the engineer did get a great acoustic archtop sound with a Neumann U47 on my cheapo Loar LH600 on my album.... I think he also had a ribbon mike on it.
He has lots and lots of really nice mikes and likes to spam them on the guitar - 2 on the box, one on the amp. It makes me feel terribly important.
Talking to engineers I was told to mike both the box and the amp. I think a SM57 is fine for the amp, and a NT1A for the box gets good results. Just be careful how you mike the speaker - I've been advised to mike the speaker slightly off axis, but it's best to use your ears.
For a more electric type band, or with ridey drums you might prefer a pure electric sound, obviously if you struggle to get separation with the drums in the space that decision is made for you... But in a proper studio should be OK.
Elias Prinz -- young talent from Munich
Yesterday, 10:24 PM in The Players