The Sennheiser e906 is a very compact and versatile mic that gives other dynamic mics a good run for their money.
The e906 has been designed for use with guitar cabs and other close micing situations. The side address of the mic makes it very compact.
The e906 has a similar tone to the SM57, no doubt this being its intention, however there is slightly less of a boost in the upper mids. This makes it slightly smoother and great for high-gain guitar tones where you don't want the extra crackle that comes with heavy guitar amps. It also compliments the SM57 if you'd like a blend of the two mics.
The mic can also be used on snare drum and occasionally as vocals, more often than not for use with blues and rock.
The mic does have a switch for boosting or cutting the high end set at 4KHz, so it can be easily adjusted tonally to match your needs.
It's also a cheap mic, currently selling for around $200. This makes it a perfect addition to any studio or live setup as the expense is easily made up for by its performance.
Great Mic, absolutely superb on Guitar Amps and Drums, but i have recorded Soprano Sax with it along wit other mics. Very useful mic, i keep one with my guitar equipment to guarantee my guitar tone live and it has never once failed on me. Strong construction (almost unbreakable) great sound and a 3 position eq switch make it a very versatile mic, in most situations were i would use a sm57 this sounds better and it's easier to position due to the side address capsule... (on a guitar amp, for example you can simply hang it from the cable right in position on the speaker cone... cannot reccomend this too much...
it's also my favorite hand percussion, or tom microphone.
I love these mics.
For guitar, it's great and also works nicely on toms and snares. Never tried vocals however.
For the money, nothing bad to say at all. I much prefer it to the 609 which surprised me as I thought it was basically the same with the 3 position switch, but it just seems to sound better to me.
another really great mic for electric guitar cabs, just set it and forget it. most of the time I just sling it over the front of the cab like I would live. that's it. done. although not as sonically interesting as the heil pr40, this mic is a solid goto to guitar cabs and I almost always have one in the mix.
The Sennheiser e906 is an affordable, supercardioid dynamic microphone tracing its ancestry back to the legendary, and now pricey, MD409. This compact, almost laughably shaped, microphone is deceptive--much like its forebearers and spin-offs there's a lot of sonic potential waiting to be unleashed.
Feature-wise the e906 has a three position switch to affect presence, which can be boosted, cut or left neutral. The e906 handles transients and SPL without difficulty. Thanks to its odd design and small footprint you can place these in cramped positions--ideal for tom mics. The ultra-tight pattern is good for eliminating bleed, but in my opinion its so tight that micro-placement is an issue. Make sure to LISTEN when you place these (which you should be doing anyways) because relatively minor adjustments can make a big impact on the final product. Other than that, the Sennheiser is a breeze to use.
In practice these are good microphones well suited to percussion, guitar cabs and the like. Probably not a good choice for vocals, not as much for the sound, but the look of horror on the singer's face when you put this "frying pan" in front of them. The supercardioid pattern isn't very forgiving if your vocalist likes to dance around. Overall the response is a bit throaty, with a touch of grain and the potential for brightness; when misapplied the e906 can display some stridency or shrillness. This mic doesn't shine everywhere, but on the correct sources it becomes quickly obvious that you've got a winner. Make sure to play with the presence controls before making a final decision, as each of the three settings are very different from one another. It's almost like having three mics in one!
While e906's and the like are often put in front of guitar amps, where they are well suited, my personal opinion is that their best application is on tom microphones. Due to their narrow pattern, good off-axis rejection, crispy and "tough" sound they excel in this capacity--especially with the presence boost switched to "on." Not to mention their minimal footprint and the ability to get them very, very close to the drums, yet out of the way of errant drummer hits, make them ideal. The e906 is useful both on top AND bottom of toms, and provide a cost-effective way to double mic toms (which in a project studio is a total luxury). Another place these mics are awesome is the bottom snare, where their rejection, brightness, size and tone are well-suited! Heck, they almost make the under snare sound good! For more ethnic percussion, like congas, bongos and the like they really shine.... set them up in stereo arrays with a mono LDC as a room mic and enjoy!
Bottom Line: these mics often get a bad reputation because they really aren't as good as its predecessor, the MD409. Not all is lost, because these are still quality microphones with a number of new features. Not to mention the difference in quality is pretty forgivable for most applications, possibly guitar withstanding. Watch out of the upper mids, because they can get excessive on the wrong source. Every well equipped studio should have 4-5 of these (or its derivatives/relatives) in their mic locker. They just get you out of jail free too often to be ignored.
Wow, what a night and day difference. I was using 57s and Beta 57s for my live guitars and while they sounded ok, I was never really blown away. A friend had just got an e906 and swapped my 57 for it - What a difference. I noticed it mainly in the upper mids, a bit of a boost that lets my amp (Ceriatone OTS with 1x12 oversize cab) cut through beautifully.
I have been experimenting with it in recording and love the sound I am getting. The super-cardioid pattern is fantastic for my less than well treated, small amp room.
I usually don't roll off any frequencies but it's nice to know I have the option
Great at home or on stage and cheap - I paid $165 AUD
This is a microphone which works well on every guitar cab. Every! And it is often the best in many situations. It also works well on the toms and under the snare.
If the 3-position switch is set to the lower position, it sounds very close to the vintage 409, if it's in upper position, is sounds more like the newer 606, but I prefer it in the midle (kinda flat).
It's really a microphone that will become a classic (if it isn't already) and at this price, every studio and live venue should have a pair..