What Mic for micing dobro

[David Cook]

Hi
I recently saw Rhonda Vincent live and her dobro player was just micing it. I don't know what mic he was using.
Right now I use a Shure 57
Would it be significantly better to use a condenser mic and what brand would be recommended
Thanks

[David Cook]

I forgot to say that I play dobro sitting down in a group that is not too loud

[John Ducsai]

These work very well:
https://www.eartrumpetlabs.com/products ... es/edwina/
A bit more than a 57

[Ricky Davis]

When I go into Studio to Record Reso; I tell engineer to place the most expensive vocal mic over it(usually ribbon) and wala....sounds better than anything else.
Ricky

[Brandon Mills]

I second a ribbon mic. Every recording that I have tried to emulate on Dobro has sounded best with a ribbon mic.

[Howard Parker]

Ribbon for recording? Sure.

For live performance???? Not so much.

Want a simple upgrade from your SM57? I recommend the Shure beta57 dynamic. Economical & rugged!

hp

[Brooks Montgomery]

I’ll second what Howard said, the Shure beta 57A is a great affordable mic
Rob Ickes got a lot of quality sound (and volume!) for many years out of the AKG C1000 condenser mic (but that was without drums and electric amps surrounding him).

[Eric OHara]

Hi - I second the use of the C1000S. I've used it on the road in live performance and its a great mic.
We prefer to use the older ones that are either made in Austria or Poland. You can pick up used ones in
good condition for around $100-125. They are also very durable. Some condensers cant withstand the rigors
of the road. this one can. EJO

[Rick Abbott]

I have been using a Beyerdynamic M 201 TG for a couple of years. Very clear sound and great off-axis rejection. Very hard to beat, in my opinion.

[Gary Meixner]

I don't have a recommendation but have wondered if anyone has used a Meyers Feather? I have seen them mentioned from time to time but haven't heard any reports as to their effectiveness.

G. Meixner

[Ian Rae]

The Beyer M201 was the the replacement for the old M160 double-ribbon hypercardioid, which had great transient response and great rejection but was labour-intensive to produce, since the twin ribbon units had to be carefully matched.
The M201 is a dynamic, and good though it is, it will never compete with a ribbon. Not saying you shouldn't use it if you like it!

[Chris Bauer]

For live, it's great to have a wonderful condenser mic to pick up all that glorious tone. The problem is that most FOH guys have no clue how to actually use one in a live mix. I usually ask for a humble 57 or Beta 57 because they're used to working with one and, as a rule, the sound of more knowledge with a lesser mic beats little or no knowledge about a better mic every time.

That said, more often than not I'm running direct with dobro these days - Reso -> JD Aura -> any effects I might be using -> whatever the best-sounding DI is that's available at the time.

[Brooks Montgomery]

That said, more often than not I'm running direct with dobro these days - Reso -> JD Aura -> any effects I might be using -> whatever the best-sounding DI is that's available at the time.

Me too. Really is a remarkable system for all situations.

[Rick Abbott]

The Beyer M201 was the the replacement for the old M160 double-ribbon hypercardioid, which had great transient response and great rejection but was labour-intensive to produce, since the twin ribbon units had to be carefully matched.
The M201 is a dynamic, and good though it is, it will never compete with a ribbon. Not saying you shouldn't use it if you like it!

I have dozens of mics available in my studio and live rig, including ribbons. For the kind of gigs I play, and that most people play, a dynamic is a great choice. The M201 is by far the best dynamic I've used on dobro, mandolin, sax, snare drum and electric guitar cabinets. Honestly, on a loud stage they do a dang fine job of drum overheads. They have great off axis rejection. It's a great mic. I wasn't trying to compare it to a ribbon in any way. I'm managing a small theater stage right now and am considering buying 6 of them to beef up my stage mic supply. I do, indeed, like them.

My next purchase for the studio will be 2-4 M160 ribbons, or maybe 2 of them and 2 M130 figure of eight, mics. They sound so great on acoustic instruments!!

[Ian Rae]

All good stuff, Rick! I had no idea the M160 was still available - I assumed it had retired (like me). I was using them for woodwinds with a radio orchestra back in the 70s - the best oboe mic ever!

[Mitchell Smithey]

To my ears the M-160 beats everything, it has more detail and dynamic response than most condensers but that’s typical of most good ribbons. Haven’t tried the 201 but I’m sure it’s a great mic.