Guitar Cab Mic???

[WidgetNinja]

Originally Posted by warhead

E/V ND468: Brighter than both overall but delivers a great mid and high end presence and somewhat snappier / more crisp response. Very proximity dependent, allows you to mic really closely without flubby low end. The 468 delivers when I need a tighter track in a busy mix.

If I could only have one of those mics for all cab work it would probably be the E/V.

War

fuuck

SSSSSHHHHHHHH!!!!!!!


Great recommendation BTW to anyone without one. You know, you mic your cab, it's all harsh in the center of the cone, so you move to the side some, and it's all phasey. You wonder why you can't just throw up a '57 like everyone says they do... Buy one of these!

I finally just found out how to make my '57 sound satisfactory, and concluded that it just can't be done without a great pre... and great comp...and great EQ (for cutting but beefy riffage anyways). Since this is Low-End, the E/V is a no-brainer compared to a 1K+ preamp.

They also work great on bass, drums of all kinds. '57 on bass ain't so hot.

[Tapeworm]

On my latest project, I wound up using (as a general rule and after alot of experimenting) a few AKG d1000Es (very smooth, almost rounded top end - like a ribbon with more clarity) on most of the main rhythm guitars. These are no longer made but the latest one I grabbed off of e-bay cost me around $25.00 with case. I used an Audix i5 on most of the leads (smooth as well with a little more bite - $75.00 - $99.00). My trusty SM57's were used mainly on accented guitar parts - layered sounds (crunchy, punchy sounds that come in and out $89.00 - $99.00). The 57 can get great sounds but you eq it by placement far more than externally. There have been times when I thought that the 57 sounded like garbage on it's own only to have it sound great and sit perfectly in the mix on playback.
I am also not a big fan of sticking a 57 right up to the grill in all cases. You really have to move it around an see what works best for that particular song. A 10 degree tilt or 1/2 an inch back can make a huge difference with one of these.

You could buy all these mics and have a number of sound options for a little over $200.00.

Of course a few other more expensive mics were used as well but the three listed above wound up being the main ones for electric guitar tracks.

[sekim]

You might try something brash and something dark together. For me a 57 and a 319 both (which would fit your budget) close to the grill allows for a fairly wide range of useable tone simply by changing the mix of the two.

You could add something neutral (which may still fit your budget) a few feet back and nudge this track forward in time to get it perfectly in phase with the other two. Mixing the three should allow you to come up with something really nice sounding. Play phase games with the three tracks for an even greater tone pallate.

[big country]

Originally Posted by scrubs

I haven't tried any of them, but don't they market the PR40 as being a great kick mic because it has a flatter frequency response down much lower than other dynamics (RE20, SM7, etc.)?

I think the PR 40 Smokes most condensers , kills the RE 20 ( how friggin old is the tec. on that mic any ways 20 - 30 years . not shure about the sm7 never tried one.
PR 40 Is MY go to, got to have mic. and yes the PR 40 goes flat
to 28hz , RE 20 drops a 45hz

[scrubs]

Originally Posted by big country

I think the PR 40 Smokes most condensers , kills the RE 20 ( how friggin old is the tec. on that mic any ways 20 - 30 years . not shure about the sm7 never tried one.

How old is the technology of the U47? That is a completely illogical argument.

[big country]

magnets have change alot in the past 10 years
plus its the only true large diaphram dynamic

[big country]

I did not no we were talking about U47

I guess I will read all the threads next time

[Third Story]

i like the 421 and the e609

[audible]

I have had personal success with combining a Beyer mic(M-69 or M-201) with a EV RE-15. Beyer mics in general sound great on a guitar cab. The 421 is also pretty cool as well. I would suggest some condensers or ribbons, but you would have to spend over your budget. Check out the Beyer mics(69,88 or 201), they all work really well on guitar amps.

[scrubs]

Originally Posted by big country

magnets have change alot in the past 10 years
plus its the only true large diaphram dynamic

Yes, I've read their ads.

[big country]

your point?

[big country]

how does the 409 sound compared to the 609

the 409s are worth thier weight in gold now, but how do they compare

[scrubs]

Originally Posted by big country

your point?

My point is that marketing gobbledigook about magnets and diaphragm size mean mean nothing if it doesn't deliver in the sound department. Admittedly, I haven't tried the Heil mics, but your arguments aren't making me any more eager. What I've read about these mics seems to say they're much brighter than your typical dynamics - more like condensers. However, I use dynamics/ribbons for the very reason that they don't sound like condensers.

[big country]

Originally Posted by scrubs

My point is that marketing gobbledigook about magnets and diaphragm size mean mean nothing if it doesn't deliver in the sound department. Admittedly, I haven't tried the Heil mics, but your arguments aren't making me any more eager. What I've read about these mics seems to say they're much brighter than your typical dynamics - more like condensers. However, I use dynamics/ribbons for the very reason that they don't sound like condensers.

demo a PR 40 then well talk

they look good next to a disco ball if that helps

not so good next to a lava lamp

but i like disco balls so dont listen to me ( :

[woomanmoomin]

Originally Posted by scrubs

I use dynamics/ribbons for the very reason that they don't sound like condensers.

Is it the case that the Heils sound more like condensers overall, or just in terms of having more highs than a lot of other (moving-coil) dynamics? I guess maybe the highs on a bright dynamic aren't going to be as resonant or potentially grating as on a condenser. Maybe the parallel should be with a comparatively bright ribbon mic like the Crowley and Tripp Studio Vocalist rather than condensers?

[big country]

any one use a 409 . Ive watched a few on ebay, look kinda cool

they will hold value well and you might be able to get one for 300.

[Sounds Great]

Originally Posted by big country

your point?

He's right. Get rid of those pesky old Moogs and Arps, too. That technology is so yesterday.

[big country]

yea give me all your moogs