Though it is difficult to beat an SM57, Sennheiser really fell flat with this mic. Sennheiser's e609 is in the same price range as an SM57 and yet, in my opinion, there is a huge gap in sound. A SM57 sounds clearer, fuller, and much more detailed. No matter what the source I have found the the e609 to be crushed by it's competitor.
When micing a guitar cab, the e609 has too much fizz and hiss which is, in some cases, unusable or will take hours to get to fit in a mix. And though there is fizz, the tone is not clearer.
On snare, the sound is simply bad. I can get a better sound out of my snare using a cheap, low end CAD mic. No matter, top or bottom, the sound can be very easily beaten.
The mic works on toms, but still there is much left to be desired from this mic.
On top of its relatively poor sound quality, it is also difficult to place around the kit because of its "flat-profile capsule". If you are recording a tightly arranged drum kit with cymbals very close to the toms it is hard to position the mic so that it doesn't get bumped by the moving cymbals. Of course, I'm not saying it is impossible to place the mic, just rather inconvenient.
In conclusion, although this is a budget mic, it can still be beaten by other, even cheaper mics in its price range. If you are considering purchasing this microphone, I would suggest looking for alternatives. This mic is flawed sonically and physically compared to other mics.
This microphone is VERY different to a SM57. But it can really be a good addition to a mic arsenal. It has a much warmer/fatter sound, making it a nice complement when a darker sound is desired.
Jazz guitars may be a great use for it, also summing it with an i5 or SM57 can give you a much fuller sound.
None of my two 609s has a high end like the original review mentions.
This is not a bad mic at all, but don´t expect to sound as your typical all purpose dynamic mic.
I used sm57 exclusively for that last 6 years and started using these just recently...i may still be honey-mooned by them but the guitar sound was astounding IMO. No stand required either, which cleans up the look of the stage.
A great buy for me and i will continue to use them as my main live guitar mics. The took EQ well and didn't really need much...but the source will determine the quality of reproduction far more than any mic ever will ( and if you disagree then i am sorry for that means you fall into that classification of persons that think gear outweighs the source) also used the normal amount of gain at the preamp.
I have a pair of original e609 microphones with the black (not silver) grill, which have the darker eq curve in the top end.
I've used them on countless recordings, and when paired with a LDC or not, they provide satisfying tone and more low end extension than you often need. Rugged, and seem to take tons of volume. More recently tried these further back from the grill and liked the tone just fine.
Not the same but similar. I have the ones with the gold front, and I like 'em. Thru that they are not as manageable as an SM57 but that's not the reason I use them. If I want something to stand out in a mix they are great.
So, if you have some of them laying around and don't use them because you think they are a handfull. Throw them on something that is an accent in a arrangement and enjoy.
I've used an e609 for about 8 years. No, its not a 57. Is it better? That would be like a Ford vs. Chevy contest. For my use its been solid. (Classic Rock, Oldies, Big Band, and Latin Orquestra, with horns and occasional string section). Its clean and too easy to use: plug in and hang over the cabinet mic side to the grille. That nets one less mic stand to pack.
I've never experienced the "fizz" Loon talks about, but then again high spl is not a factor in my case. I might not have as round a low end as the 57, but again that suits my use.
Its tough, that's for sure. Its been dropped and stepped on several times with no dents to show for it.
I disagree with the original review, i find the positioning of this mic is quite simple and it sounds better than an sm57 in most applications. also there are 2 models of e609, the silver and the black versions, each one with a particular sound and it wasn't specified which one he's reviewing.
I find the black model more suited for fizzy guitars as the top end is smoother. But in reality i would mostly recommend the e906 model because of the eq switch, which allows you to choose the freq response better suited for the source you're recording, it's the more expensive option though...
Use these every weekend on guitar cab and Leslie high horns. For live sound, you can't beat a 609 for a guitar cab IMO. Drape it over and you're done, too easy, with a sound more than good enough live. I've recorded a bit with them, not always the right sound, but not bad, lots of punch, crunch; the 57 mid bump on steroids. For the Leslie rotary's, I think they sound good; definitely handle the SPL's. They are hardy mics, and are thin and easy to place.
I've used this mic both in the studio and live, although only ever on guitar cabs. I gotta say I liked it, and so did the guitar players. Like the other guys/gals have said you can save a stand if you want to and just hang it over the edge of the cab (I still use one anyway).
I definitely don't have the ears of some of the guys here, but I do know when stuff sounds good and these guys do exactly what they're supposed to - provide a close, isolated sound from a speaker. I don't own one yet, but when I do get one I'll stack it right next to a 57 and compare.
If you wanna try something new on a cab, instead of a 57, try one of these. You can usually find them for around $75 used on ebay and maybe even cheaper on craigslist. If you don't like it, you can always sell it.
I love this mic in full disclosure. It's designed to be hung from the amp with a piece of duct tape right up on the grill direct on.
That being said, that's going to give you an extremely specific sound that you may or may not like. I like to blend this with some other mics when the amp works.
It's not as tough as an SM57 but it works and it'll take a bit of a beating. For live situations, a piece of gaffters tape is a lot less to carry than an extra stand plus it's harder to bump into. Less stage clutter...
In the studio, the difference between this mic and an SM57 is like the difference between a humbucker and a single coil. This is more scooped sounding but for some amps, that's just what the doctor ordered.
It's not as cheap as some, it's cheaper than others. I also like to use this on Baritone Saxophone and banjo. As far as Banjo goes, it works great with the high impact attacks but has the nuance for the decay.
If you already have an SM57 and are looking for an affordable option to blend it with on guitars, it's worth buying, just make sure there's a return policy because it may not be your cup of tea.
Sound Quality: Not sure what version I had but the EQ curve is definitely darker than you'd expect. Its a good mic to pair with a LDC or 57 but not on its own. For a live set up, its a different story. Its great for live applications, in fact we use it exclusively for live shows and it almost never sees action in the studio anymore.
Ease of use: Its a mic. Put it in front of a source. Hit record.
Features: Its cool that the design is different than what we are used to. It definitely adds to the flavor of the mic but is sometimes difficult to get an idea of how its directed at the cone.
Bang for the buck: Well, its not an SM57 or a 57 killer but it also doesn't offer a sound that competes with the other mics in its class. It comes off as very flat sounding but not in a good way. Like I said before: best used with another mic.
I sold 3 and kept one but like I said, it hardly gets used but if you need another mic for your locker - its a decent buy.
This mic is great, especially for guitar cabs in a live situation. Where a SM57 works great is on bands where guitar needs to be edgy, raw sounding. The 609 is great when you need guitar to be similar but smoother/less attack sounding.
AC/DC sound goods with either... with a 57 it will sound 'raw, and great'; a 609 would sound 'modern, and great'. 57 will fatigue ears much faster, men might be ok with it. Use 609 and girls won't leave the club as fast.
Need more edge? or beef? that's easy with a little EQ boost.
Clean guitar really sounds good with this. 57's have their place too, but for clean I think the 609 is the modern choice, at least for live. (Unless you want a truly vintage clean sound.)
In the studio, I'd just use either ribbon or LDC in figure 8 on a cab, if I wanted modern smooth sound...
and maybe a 57 for support, in case I needed an edgy sound. So I don't see it as very important in the studio.
So really this is for live.
The best feature is you can drape it over the guitar cab and simply gaff the cable and it stays in its place. No mic stands required.
I've had this mic for about 4 years, maybe used it once then put it away for good. Today I got it out and threw it on my kick drum. I have tons of condensers and ribbons but for some reason I wanted a dynamic. I don't own a dedicated dynamic kick mic (like a D112) but I have to say this thing did a pretty darn good job! Everyone is giving this mic hell, I don't really see anyone saying any good things about it, but I'm really loving it on kick drum. It's not super exciting or big sounding, but you don't have to carve out the low mids like with other mics. It's pretty unflattering and not much detail, but it sounds very tight in the low end and has just enough edge up top to sound natural. I was amazed. I still am. I positioned it at the edge of the drum, even with the shell about two inches away aimed at the beater. Try it!
Sennheiser e609 vs Shure Sm57 Comparison and side reveiw of the MD-421
Wow is all i have to say! Okay maybe not, Wow just doesn't cut it.
The e609 deserves every mark i have given it in my review scores plus the folks at Sennheiser deserve a round of applause from the Audio Engineering Society or AES and the GearSlutz Community for their amazing contribututions. I love the e609s!! Used the price tag American is from 60-90 and new are ranged from 99 to 130 (which is really reasonable considering you'll use it for the rest of your life. Their sound quality is detailed yet controlled and defined. They are super easy to use, because they don't require a mic stand if being used on a guitar amps. They can also be hand held for small things like nature recording, sound design or sampling, but may require stands or clips for snare, toms, or even Over Heads! Yes! Over Heads! My First pair of e609 had tremendous results on Over Heads! Because of it detailed and airy frequency response, which when compared to the sm57, has way more high end response. Many people are comparing them to sm57s. This i don't agree with, they may seem similar at first glance, with both being low priced, studio quality dynamic mics that have been used time and time again on guitar amps, snares, toms, and VOCALS!!! ("Wait did he say vocals?") Yes i said vocals! the e609s older brother the 409 andSm57s have been used on rock, blues, punk, scr-emo, and many other vocalist of many other genres that needed studio quality recordings of vocals with high SPL levels. However the difference between the two is the frequency response, as many of you engineer reading this may know, the Sm57 has a boost to the mid range on it built in frequency response. As stated previously the e609s frequency response is detailed yet airy on the top end. Try using an e609, an sm57 and a large diaphragm condenser on your snares, OVHs, and guitar amps and compare the three. You'll notice the e609 sounds more like a condenser on the high end response.
Thanks for reading guys!
Also I thought you would enjoy a side review so here it is!
Sennheiser has my attention all around when it comes to microphones. This review is on the Sennheiser Md-421 Dynamic mic. I love the durability and functionality of the Md-421. with its built in 5 turn bass roll of switch you can switch between M (More Bass) to S (Less Bass). These features alone sold me on the MD-421. you can mic a kick and tune it to your liking with the roll of before the signal gets to your pre-amp. Mic and bass cab with it and capture more low end punch. Use it for low end instruments like trombone, tuba, or even bassoon! I promise you'll love the result you achieve!
Thanks again! Let me know your thoughts and send some wav files of your comparison results to me at firstname.lastname@example.org