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Topic: Microphone Suggestions |
Nicholas Scott
From:
Norfolk, VA USA
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Posted 24 May 2019 5:00 am |
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Hey guys,
I'm looking for suggestions on a mic to use on my Nashville 112 for live shows. I've used Shure SM57's in the past but I was thinking of switching it up a bit and wanted to see what everyone else is using. Thanks!
-Nick |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 24 May 2019 5:09 am
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Sennheiser e609
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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David Spires
From:
Millersport, OH
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Posted 24 May 2019 5:15 am
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Try a Shure SM7, or a Sennheiser 421.
Best of luck,
David Spires
_________________
2021 MSA Legend XL 10&7; Asher Electro-Hawaiian Junior Lap Steel; '79 OMI Dobro 66 w/ Scheerhorn cone and setup; '64 Hand-wired Re-issue Fender Princeton Reverb |
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Bob Hoffnar
From:
Austin, Tx
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Posted 24 May 2019 7:25 am
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I'm another Sennheiser 609 guy. I keep one in my pac seat.
_________________
Bob |
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Steven Paris
From:
Los Angeles
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Posted 24 May 2019 10:20 pm
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What's the difference between the Sennheiser 609 and the Sennheiser 906 (other than ~$90)??
_________________
Emmons & Peavey |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 25 May 2019 12:33 am
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| Sennheiser e609 |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 25 May 2019 6:41 am
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| Steven Paris wrote: |
| What's the difference between the Sennheiser 609 and the Sennheiser 906 (other than ~$90)?? |
The e906 has a brightness roll off switch, while the e609 does not. Settings. The e906 also has a high end boost and a flat setting, while the e609 does not. So basically, the 906 has 3 built in EQ curves so you can alter it's sound in the high regions.
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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Steven Paris
From:
Los Angeles
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Posted 25 May 2019 2:25 pm
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| Richard Sinkler wrote: |
| The e906 has a brightness roll off switch, while the e609 does not. Settings. The e906 also has a high end boost and a flat setting, while the e609 does not. So basically, the 906 has 3 built in EQ curves so you can alter it's sound in the high regions. |
Hmmmmm.... not much fer yer $90, and not sure WHY one would want to adjust equalization on the microphone instead of on the mixing console; but there must be other differences---eh? What's the difference in sound?
_________________
Emmons & Peavey |
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GaryL
From:
Medina, OH USA
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Posted 25 May 2019 2:46 pm Microphones
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I used an SM-57 and it is a great mic. I bought a 906 because of it's configuration and adjustability; I play in various settings, and with different groups and PA systems, and consider it money well spent. If you are strapped for cash, I'm sure that the 609 would be great also.
_________________
Emmons LeGrande D-10
GFI Ultra D-10 keyless
Quilter SteelAire |
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David Nugent
From:
Gum Spring, Va.
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Posted 25 May 2019 2:56 pm
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| Unless used for recording purposes, cannot see an advantage to having an EQ on the microphone itself. In most situations, you are at the mercy of the person running the sound board regardless of how carefully you dial in your personal tone. Caught a live video of a group that I was formerly working with and can almost guarantee that the tone being recorded from the board was not remotely related to the tone being produced by my amp!...FWIW: Another vote for the Sennheiser 609, carry two in my gear bag. |
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Dan Robinson
From:
Colorado, USA
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Posted 25 May 2019 7:06 pm
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| Bob Hoffnar wrote: |
| I'm another Sennheiser 609 guy. I keep one in my pac seat. |
Likewise. |
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Godfrey Arthur
From:
3rd Rock
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Posted 26 May 2019 12:49 am
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| Steven Paris wrote: |
| What's the difference between the Sennheiser 609 and the Sennheiser 906 (other than ~$90)?? |
The 906 is more microphone in that it has boost features.
Granted what David Nugent said is true, you will not get the sound you think you'll be getting with a sound person out front, but for days when you don't have a sound person, you have more options with a mic like a 906.
If the cost of the mic is not an issue and performance is, then a 906 may treat you better.
The 609 is a one trick pony vs the 906.
Here's a shootout clip of three of the suggested mics.
https://www.youtube.com/watch?v=mNqzSN8suGc
You can be the judge.
_________________
ShoBud The Pro 1
YES it's my REAL NAME!
Ezekiel 33:7 |
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Steven Paris
From:
Los Angeles
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Posted 26 May 2019 2:03 am
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Thanks! Very interesting----I thought the Sennheisers were better; not a whole lotta diff between 'em, but maybe the 906 is slightly better. Prices I found:
Shure SM-57 new $100 used $65
Sennheiser 609 new $110 used $85
Sennheiser 906 new $190 used $150
_________________
Emmons & Peavey |
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Jack Stoner
From:
Kansas City, MO
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Posted 26 May 2019 3:47 am
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I have SM57's and a 609 in my home studio mic assortment. I prefer the SM57. Actually, the 609 "collects dust".
_________________
GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat, SIT Strings
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 26 May 2019 9:37 am
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| Quote: |
| I'm looking for suggestions on a mic to use on my Nashville 112 for live shows. |
With the 609 or 906 you don't need to schlep around a mic stand.
Simply hang it in front of the amp.
_________________
Lee, from South Texas - Down On The Rio Grande
There are only two options as I see it.
Either I'm right, or there is a sinister conspiracy to conceal the fact that I'm right.
Williams Keyless S-10, BMI S-10, Evans FET-500LV, Fender Steel King, 2 Roland Cube 80XL's,
Sarno FreeLoader, Goodrich Passive Volume Pedals, Vintage ACE Pack-A-Seat |
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Tony Prior
From:
Charlotte NC
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Posted 27 May 2019 2:07 am
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The Pioneers crossed the Great Plains with a SM57 in the 1800's, used it to fix the wagons, smash bugs, kill snakes and cut firewood, then they built a studio in LA and recorded all modern music with it !
_________________
Emmons L-II , Fender Telecasters, B-Benders
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
CURRENT MUSIC TRACKS AT > https://tprior2241.wixsite.com/website |
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Dick Wood
From:
Springtown Texas, USA
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Posted 27 May 2019 12:31 pm
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Been using the 609 for at least 14 years and it does a great job. Many venues I work use them also. As was said earlier,just hang it over the top of the amp,hit a high western E and you're good to go.
_________________
Cops aren't paid much so I steel at night. |
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Steven Paris
From:
Los Angeles
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Posted 27 May 2019 11:58 pm
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| Jack Stoner wrote: |
| I have SM57's and a 609 in my home studio mic assortment. I prefer the SM57. Actually, the 609 "collects dust". |
I was wondering if you could describe more fully WHY you prefer the 57 over the 609?
_________________
Emmons & Peavey |
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Jack Stoner
From:
Kansas City, MO
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Posted 28 May 2019 2:11 am
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Steven, I tried the 609 on steel shortly after I got it and didn't like the recorded sound. That was about 5 years ago and I don't remember the specifics, just that I didn't like it compared to an SM57. I did use it on an amplified rhythm guitar and it was OK. Probably just my personal preference.
I don't even mic my steel since I got a Steelaire amp, now go direct for recording. If I were in a live stage situation I would opt for direct there too.
To add, I did a search on the gearslutz.com forum (recording forum) and most of the hits for the 609 refer to using them with drums.
_________________
GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat, SIT Strings
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit
Last edited by Jack Stoner on 28 May 2019 6:01 am; edited 1 time in total |
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Richard Sinkler
From:
aka: Rusty Strings -- Missoula, Montana
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Posted 28 May 2019 5:48 am
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Jack said:
| Quote: |
I don't even mic my steel since I got a Steelaire amp, now go direct for recording. If I were in a live stage situation I would opt for direct there too. |
This brings up an interesting point. In live gigs, I think many players, including me, always chose to mic their amps so the sound of the speaker was part of the sound. But thinking about it, by the time your sound gets through the PA, your speaker isn't so much a part of the equation any more. By the time the soundman adds what he thinks is his "magic", and the sound gets through the woofers, tweeters, and possibly a sub, your sound is pretty much not what you are hearing on stage anyway. I don't know that I'll change, but who knows. I do have direct box that could use with my Nashville 400 preamp out. Have done that in the past. The only reason I bought the e609 was a soundman at a gig used one and for some reason didn't prefer amps (other than bass and keyboards) going direct.
_________________
Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, NV400, NV112 . Playing for 54 years and still counting. |
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Michael Hartz
From:
Decorah, Iowa, USA
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Posted 2 Jun 2019 7:43 pm
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| I used a Sennheiser E906 for years. I A/B’d it with a 609, they are not the same mic, not even close. The E906 is supposed to sound very similar to classic MD409 and has a tighter, warmer sound IMHO. The E609 to me sounds harsher, more brittle like. Don’t get me wrong, the E609 is still a great guitar cab mic but I think the E906;is definitely worth the extra $. |
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Glenn Taylor
From:
Denver, CO, USA
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Peter Leavenworth
From:
Madbury, New Hampshire, USA
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Posted 15 Jun 2019 11:52 am Microphone Suggestions
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Since I believe that, initially, many sound people view pedal steel as another guitar, it can take a while (not a single show) to realize that PS has another world of low end subtleties that standard guitars simply don't have. I now use a Shure KSM 32, which is a large diaphragm condenser mic, so I know that I'm at least providing the possibility of having some of that broader spectrum in the front of house mix. Yup, it's expensive and fragile but I've spent decades using small diaphragm mics and have been shocked to hear how thin they can translate out front. The Sennheiser 421 is another good bet that is a dynamic cardioid mic that doesn't require phantom power.
_________________
2008 Zum D-10, 1996 Mullens PRP D-10, 1974 Emmons D-10, 1976 Emmons D-10, early 70s Emmons GS-10, Milkman Sideman head w/Telonics 15" speaker, 1966 Fender Super Reverb, 1970 Fender Dual Showman head, Wechter/Scheerhorn and Beard Dobros, 1962 Supro lap steels, Gibson 1939 RB-11 banjo, Gibson 1978 RB-250
banjo......and way too much more |
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Dave Grafe
From:
Hudson River Valley NY
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Posted 28 Jun 2019 7:54 am
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I dislike the "presence peak" of the SM57, it adds a lot of highs while neglecting the lows. The KM32, AKG 414, etc. are really great mics, but generally I find condenser mics unable to cope with high-SPL close-mic'ing of amps. Whether mic'ing my own amp or mixing another artist, my dynamic mic preferences for close-micing amps, in order, are:
1) Sennheiser MD409 - the original, unmatched for sonic glory
2) Beyer M88 - best dynamic mic ever made. Better, more accurate response than many condenser mics, plus the ability to handle higher SPL.
3) Sennheiser MD421 - but of course, the original high-quality workhorse
4) Sennheiser 906 - a cheaper approximation ofthe 409
5) Sennheiser 609 - better bottom end than the SM57, but also has a nasty high-end boost
6) Shure SM57 - because sometimes you just have to roll with the sound company's rig. |
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Steven Paris
From:
Los Angeles
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Posted 28 Jun 2019 8:48 am
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Approximate prices for Dave's favorites:
Sennheiser MD 409 new ?? used $500-700
Beyer M88 new $360-400 used $275-300
Sennheiser MD421 new $380 used $250-300
Sennheiser 906 new $190 used $150
Sennheiser 609 new $110 used $80
Shure SM57 new $100 used $80
_________________
Emmons & Peavey |
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