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Sennheiser E906 !!! NOT TOO SHABBY!
Old 26th November 2010
  #31
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Quote:
Originally Posted by muziekschuur View Post
Maybe a 421? Or a EV RE20 because I think you want CHUG... (mid low)
yeah since I already got a 421 I wanted something different...I went with the e906 finally...the price is good too.

but I still didn't get to try it! tomorrow I will! cannot wait to mess with it and record some clips...!heh
Old 26th November 2010
  #32
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malaclypse's Avatar
yeah 906 on guitar cab is great. also like it on snare.
Old 26th November 2010
  #33
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beau_mckee's Avatar
Sennheiser E906 !!! NOT TOO SHABBY!

I've foundyself using SM7b on all guitar duties as well as sm57. The e609 and 906 are a little hit and miss for me, especially with dirtier gainier tones
Old 26th November 2010
  #34
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I think i tried everything on guitar cabs, really..

Dynamics, all the usual suspect, 421, 441, 906, audix, 57, SM7 etc etc..
Ribbons, any kind, chepo ones, royer, coles,
Condenser, here seriosuly everything.. from u87, to expensive tube mics,
not expensive tube mics, kick mics like AE2500 (which i loved for some time due to the always-in-phase dual mics dyn+condenser),
chubby mics like Kel HM-2D, 414, fet mics, transformeless, subkick.. everything.

After years and tons of different combinations I came to the conclusion that
nothing cuts electric guitars better than two stock 57
when you have the sound right coming out from the amp,
then even the positioning of those two it's easy.

And what I noticed is that most people don't know how to get the sound right for the recording,
which ain't the same as getting the sound right in the room.
Old 26th November 2010
  #35
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chev's Avatar
 

yeah, but e906 was the price I was willing to spend at the most at the moment, 240$ vs 110$ SM57 and 400$(special) for a 421...SM7b, Re-20 are in the 400$ step...never tried a Beta52A...just wondering how it would go with low end stuff?

I also got a low-level K&M stand with it so even if I know you can let it hang in front of the cab...will be able to try every possible spot this way...hope it's still good enough on dirt?!
Old 26th November 2010
  #36
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chev's Avatar
 

Quote:
Originally Posted by Retinal View Post

And what I noticed is that most people don't know how to get the sound right for the recording,
which ain't the same as getting the sound right in the room.
I still have some to learn, but at least I've got the proper tools to experiment...I know it's hard to get the recording as good as how it sound for real! I think room mic is good for that too...

I record every jam to work the writings and the sound result for the day we track this for real...!
Old 26th November 2010
  #37
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Quote:
Originally Posted by Retinal View Post
I think i tried everything on guitar cabs, really..


After years and tons of different combinations I came to the conclusion that
nothing cuts electric guitars better than two stock 57
when you have the sound right coming out from the amp,
then even the positioning of those two it's easy.

I think it still depends on many factors myself, not mention the room, the positioning, number of mics, denseness of the mix, etc.

Many cases a condenser or two might be perfect for the sound, or a ribbon and dynamic etc... Most rock tones of today have no highs! So yeah, invariably with a Mesa, 7 string etc, mid scooped settings, 75 watt black shadows, the 57's are gonna save the day. Other high gain amps, 5-6 12ax7's, modern 75watt speakers, mid scoop, again, the 57's or m201's or other similar mics will do it.

A brighter open vintage plexi, full frequency band and only 57's may still work if the setting are right and both 57;'s aren't on the dustcap.... YUCK! hehe Lots of mic choices here that would be great. CAN'T beat an old plexi
Old 26th November 2010
  #38
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Quote:
Originally Posted by malaclypse View Post
yeah 906 on guitar cab is great. also like it on snare.
They do an awesome job on toms aswell.
Old 26th November 2010
  #39
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Jerrick's Avatar
 

Quote:
Originally Posted by fuzzface777 View Post
mid scooped settings

tutt
Never! haha

I like the e906. There was a comparison between the MD409, E609, e906 and another mic or two and the md409 and 906 were my favorites. Id like to get the 906 someday, but until then ill stick with the sm57, i5 and throw in a few room mics.

I found that when I set my amp to sound great in the room, or out in the crowd, its completely easy to close mic the speaker, angle the mic and move it around a bit and get my "room" tone. Id absolutely hate it if someone just threw a mic into his position then tweaked my setting to match where he put the mic. That can completely change the way the amp reacts, ive seen it where it has made the strings seem stiffer for the player which definitely messed with his performance. It seems weird, but I see more people trying to change everything else instead of spending some sweet time moving the mic around.

Sorry to drift offtopic a bit. E906 gets a big Hell Yeah! from me.
Old 26th November 2010
  #40
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Of course it does depends on the kind of guitar sound we're talking about.
For distorted guitars i stick to what i stated above, I find clean guitars MUCH easier to track and get the sound right, distorted guitars are a pain.

I remember back in the years when i didn't have the studio, trying to get the guitar sound right and it was such a chore, mostly because of the amp volume,
you could never crank it the way it required, the growl lies in the power amp tubes driven to oblivion, not the preamp ones,
hence, a LOT less gain that you'd imagine listening to the guitars in records. I will always remember the first time
I turned the master out up to 9 on 10 and went "oohhhh.. that's how it works" :D

So if you listen to the amp in the room most likely you will end up with too much gain, especially when quad tracking,
distortion builds up, listening to one guitar alone will make you want more bottom, more gain, more everything..

I find most of what people say are the negative sides of the 57's their good features, narrow sweet spot, mid-forwarded, limited spectrum..
That's what you need for distorted guitars

With that said, I always still put a ribbon in the equation, but in the end I will probably use it only in some passage when i need a really low omph,
most likely when the guitars are alone.

I don't agree either with not touching the guitar amp after placing the mics, I wouldn't change the sound of it completely,
but small adjustments are often needed, you nail the positioning but you want a lil more bass, you have a lil too much gain, you want to differentiate L from R, etc..

Also found that very few mics handle spl as good as the 57's,
I mean nominally most mics go up to much more than what the amp puts out but they simple don't sound as good
when you start to have 120db in there
With guitars even the slightest (bad) distortion introduced by the mic or something else in the chain can mess up

The sennheiser we're talking about is altho' a good mic for guitar, too bright for me, too hi-fi, especially for heavy stuff
Old 26th November 2010
  #41
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fuzzface777's Avatar
 

Quote:
Originally Posted by Retinal View Post

The sennheiser we're talking about is altho' a good mic for guitar, too bright for me, too hi-fi, especially for heavy stuff
57's mid -forward, and presences spike is great rock guitar. The beyer 201 is similar but more subtle. The 906 bright? I found it very middy, esp 500-1000hz, maybe the antidote for a mid scooped Mesa owned by a Metallica wannabe. 421 is maybe helpful for taming a mid-honky amp (settings) and adding some extended lows. M69 or M88 can work nicely on a SL-100, bright, and tight bottom, warm it up. Of course, ribbons are great and condensers.
Old 26th November 2010
  #42
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Well descriptions really depend on personal experiences when we get this detailed.
I just learned to like two 57 for one specific reason which totally depends on my way to track guitars: I rather spend more time finding the sweet spot with the two mics so that i don't have to eq a lot during mixing, and with two 57's i noticed that is so much easier to phase null the "fizz" than with different mics, plus I just like the mid in the 57's and the fact that they don't have too much in the way of bottom end (but not even too lil as you often see people saying) allow me to have more bass/omph from the amp without having 12db difference between a tchug and a chord

PS: never liked nor understood the beauty in the mid-scooped sound.. never liked mesa either
Old 26th November 2010
  #43
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frans's Avatar
Heil PR30, Beyer M160 or 260 or M88 or M201 or M360, Sennheiser 421 (if you find a grey one in good shape) or a Sennheiser 441. Audix i5. Whatever.
As every half inch positioning makes more difference than most mics... how about getting isolation headphones and, hearing what your mic hears, position the mic. I had a few guitar players in my studio that were never happy with their tone in other studios.

It took me like 3 minutes to find the right position for the mic to give a sound like they hear it in front of their amp, after the amp was dialled in. Happy customers. Repeat customers ;-)
Old 26th November 2010
  #44
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andychamp's Avatar
Quote:
Originally Posted by chev View Post
(...)it's for a full fuzz out OD loud tone with a baritone LP.
That'd be the perfect excuse for me to put up a 441.
Old 27th November 2010
  #45
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chev's Avatar
 

yeah 441 is out of reach for my budget for now...will need to invest on good monitors next...

anyways, I'm happy with my new e906, love the dark setting!
Old 14th December 2010
  #46
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Quote:
Originally Posted by chev View Post
yeah 441 is out of reach for my budget for now...will need to invest on good monitors next...

anyways, I'm happy with my new e906, love the dark setting!
hey man i'm just curious, of what kind of stuff you're using the e906 for, do you just use it for clean stuff? i just got a e906 about a week ago and am begining to think it's broke.

anyway mine just makes everything sound like i have a case of ear wax build up or something, especially on the low setting. the only thing i've found were it sometimes sounds good is placed halfway between the center and outerside of the cone, straight on facing the speaker. and that's with the switched turned all the way up on the bright end, with super clean guitar tone.

i don't know... i'm still a novice, but i mean, i know what a good tone should sound like, and i experimented enough to where i think i should of found one by now, anyway if you, or anyone else happening to read this has got any suggestions, please let me know.

i'd say the best description i could use of my e906 would be "dull and blurry" if that makes any sense. is it broke?

the amp i've been using is swart space tone reverb tweed, and i'm recording with a roland vs 2480.
Old 14th December 2010
  #47
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chev's Avatar
 

Quote:
Originally Posted by michaelofGB45 View Post
hey man i'm just curious, of what kind of stuff you're using the e906 for, do you just use it for clean stuff? i just got a e906 about a week ago and am begining to think it's broke.

anyway mine just makes everything sound like i have a case of ear wax build up or something, especially on the low setting. the only thing i've found were it sometimes sounds good is placed halfway between the center and outerside of the cone, straight on facing the speaker. and that's with the switched turned all the way up on the bright end, with super clean guitar tone.

i don't know... i'm still a novice, but i mean, i know what a good tone should sound like, and i experimented enough to where i think i should of found one by now, anyway if you, or anyone else happening to read this has got any suggestions, please let me know.

i'd say the best description i could use of my e906 would be "dull and blurry" if that makes any sense. is it broke?

the amp i've been using is swart space tone reverb tweed, and i'm recording with a roland vs 2480.
I use it from halfway between cone & edge to the edge on a 15'' speaker. my Sunn can be extremely bright(like a fender) so I use the dark setting to roll-off ice pick highs...specially with a loud Fuzz and OD.

I'll have to test it with clean tones, I'm curious now...
Old 14th December 2010
  #48
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Blast9's Avatar
Quote:
Originally Posted by michaelofGB45 View Post
hey man i'm just curious, of what kind of stuff you're using the e906 for, do you just use it for clean stuff? i just got a e906 about a week ago and am begining to think it's broke.

anyway mine just makes everything sound like i have a case of ear wax build up or something, especially on the low setting. the only thing i've found were it sometimes sounds good is placed halfway between the center and outerside of the cone, straight on facing the speaker. and that's with the switched turned all the way up on the bright end, with super clean guitar tone.

i don't know... i'm still a novice, but i mean, i know what a good tone should sound like, and i experimented enough to where i think i should of found one by now, anyway if you, or anyone else happening to read this has got any suggestions, please let me know.

i'd say the best description i could use of my e906 would be "dull and blurry" if that makes any sense. is it broke?

the amp i've been using is swart space tone reverb tweed, and i'm recording with a roland vs 2480.
Hi - are you 100% sure it is facing the right way? Maybe you are using the rear of the mic?
Old 14th December 2010
  #49
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andychamp's Avatar
Quote:
Originally Posted by Blast9 View Post
Hi - are you 100% sure it is facing the right way? Maybe you are using the rear of the mic?
Wouldn't be the 1st of these square mics with the capsule mounted backwards in the housing.
Old 14th December 2010
  #50
Gear Head
Aea r84

AEA R84...amazing!!

Check it here: http://www.***************.com/jamroomsessions_home.ph

Better than AEA R92 or R44


Senheiser E906 also great!!!

Check it in the same link.
Old 20th December 2010
  #51
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voidar's Avatar
 

Quote:
Originally Posted by andychamp View Post
Wouldn't be the 1st of these square mics with the capsule mounted backwards in the housing.
Although "FRONT" is clearly stateted.
Old 20th December 2010
  #52
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andychamp's Avatar
Quote:
Originally Posted by voidar View Post
Although "FRONT" is clearly stateted.
Apparently, someone at the assembly line didn't take the time to read on that day. At least on one of the 3 I use regularly.
Old 20th December 2010
  #53
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loujudson's Avatar
Quote:
Originally Posted by andychamp View Post
Apparently, someone at the assembly line didn't take the time to read on that day. At least on one of the 3 I use regularly.
Funny. Where are they made?

I got a couple of chinese-made ribbon mics back when Avant was just starting up, and one of them was assembled backwards. It might not seem important on a ribbon, but using them as a stereo pair when out of polarity simple didn't work! Avant stood behind them though, and talked me through fixing it and not voiding warranty....

I'd expect better from Sennheiser though.

L
Old 26th April 2011
  #54
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Just spent a day tracking distorted guitars and it sounded great; like a crunchy 57/421 combination without the phase issues. The three EQ settings come in handy and positioning was very straightforward: just put it wherever and it'll sound good.

Let's hope I'll still be as happy come mixing day...
Old 13th September 2011
  #55
57/421 sounds verrry interesting.

I track a lot of dirty, crunchy guitars and most often use either sm57 or md421 (more often the latter).

e906 ... I once read it's "better" than the sm57 for snare and guitar, but I have been more and more disappointed by this mic...
For snare it sounds a little lush. I'm missing focus and BANG. The snare seems to be further away than it actually is.
I tried all possible positions/distances. SM57 just sounds more suitable to my ears. I currently use a modded one without transformer.

I maybe have to mention that my drummer is a hard hitter and I am always striving for a sort of an old school, 70ish (stoner-)rock sound. We typically don't do detailed brush work or jazzy dingeling.

I do like the e906 for guitar cabs on stage - mostly due to the fact that you don't need a stand for it and rather let it hang from the cable from the top of the amp.
Old 27th December 2012
  #56
Gear Head
Quote:
Originally Posted by fuzzface777 View Post
anyone got an answer for me regarding the reg sm57 older versus newer?
I know this is kinda an old question, but from a professional standpoint all of the share beta mics are a joke. The old school 57's are the only way to go. The presence bump on the betas is ridiculous. IMO along with the opinions of a lot of others I have talked to.
Old 27th December 2012
  #57
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dfahb44's Avatar
 

I can't stand the mid range on this mic the one time I used it on a V30. Yuck. I had to nuke everything from 400-1k.
Old 27th January 2013
  #58
Made an E906 discovery last night. Works great in an iso cab! I've had a Randall Iso Cab for years, since my apartment days, it was always muddy and boomy and pretty much unusable. But the E906 sucked all that mud away!

Last night I dual miked an amp, E906 in the ISO Cab (hidden in my laundry room) and a '57 in front of a 4x12 here in my room. Upon playback the two tracks were almost identical. So where normally the Iso Cab mic would be boomy and muddy and unpleasant to listen to, with the 906 it went back to basically being a 57' in front of a loud speaker, without all that "box" sound - I assume this is the super-cardioid and the bass rolloff? The '57 has a little more "room" in it, cause its backed 16" or so from the front. But they're basically identical.

For apartment dwellers this might be really useful info... I wish I'd tried this 8 years ago.
Old 28th January 2013
  #59
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666666's Avatar
This guitar thing was done with just one E906 on a Splawn 2X12 with Splawn Small Block speakers and a Rock N Roll Amps CR60 (Carl Roa Signature) amplifier (great amp!). Very minimal processing at mix time, what you hear is very much the mic itself with no extra candy involved (aside from the YouTube compression which ****s up the sound a bit). The E906 was set to the darkest setting which seems to be it's best setting overall, at least per my experience. It's certainly a worth mic. A 57 can work here just as well, of course. The E609 is also cool in the right circumstances, it's just a little brighter.

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