clip on mike needed.... advice please. - Page 2

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  1. #21
    GHawk's Avatar
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    I use a 57/58 to record a lot. I like the punch that I get when mixed with a backing track. I do understand why some folks don't like them, though. My sound tends toward the dark side and some LDC's are a bit too laid back...especially on tenor. Soprano is a different thing.
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  3. #22
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    Default Re: clip on mike needed.... advice please.

    Quote Originally Posted by SoulMate View Post
    At the risk of "sounding stupid", why keep away from SM58/57?
    Ever try playing your saxophone into a pillow?

    That's what it sounds like when coming through an SM58/57.
    Justice C. Bigler
    www.justicebigler.com
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  4. #23
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    Default Re: clip on mike needed.... advice please.

    Quote Originally Posted by JCBigler View Post
    Ever try playing your saxophone into a pillow?

    That's what it sounds like when coming through an SM58/57.
    You must have a broken one...

    Joking aside - Even if they're not for you, they're still worthy of some respect. Yes - there's nothing prestigious about the humble SM58, but I suspect it's been used in more professional applications than any other mic in history.

    I have six within arms reach, and none of the four 58's sound like your description, and neither do the pair of 57's. (one of which lives about a half inch above the snare on the soundstage)

    Yes- they are a bit anemic above 10k, but they are robust enough that there's plenty of data to work with if you get a good signal and EQ to taste...


    Ha! I miscounted - there's a 7th (another 58) in my travel bag in case my wireless goes out...or I need a hammer...

  5. #24
    JCBigler's Avatar
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    Default Re: clip on mike needed.... advice please.

    I use them all the time too, unfortunately. I have over 50 SM57s and at least 20 SM58s in my building at last inventory. But I cringe every time I hear someone talking or singing or playing into them. They sound truely aweful when put up next to any other microphone.

    We keep them because for most people, they are the only microphone they have ever used and are familiar with and they are too scared to try anything new. It kills me that people spend thousands of dollars on great instruments, and want to record at high sample rates to get every little harmonic and nuance in their tone, and then capture it all with an SM58 because that's all they can afford. They might as welll record everything straight into a 64kbps MP3 file.

    If they are not specifically requested by the artist, I never use them. I will automatically put out any of the other 100 or so microphones that we have.

    But, I am spoiled with my Neumann, Sennheiser, AKG, Audio-Technica, DPA, Heil, Audix and better Shure mics that we have here.
    Justice C. Bigler
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  6. #25
    SoulMate's Avatar
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    Default Re: clip on mike needed.... advice please.

    Quote Originally Posted by JCBigler View Post
    Ever try playing your saxophone into a pillow?

    That's what it sounds like when coming through an SM58/57.
    I think I understand what you mean. I wouldn’t use them for recording. I have a large condenser for that.
    But, live they’re more than ok to me.
    Since the thread is about clip-ons… I have an AKG 419 clip-on which is really nice. But it has a tendency to be prone to feedback. A lot!
    Any tips to avoid this with these sensitive little condenser clip-ons?

  7. #26
    JCBigler's Avatar
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    Default Re: clip on mike needed.... advice please.

    Quote Originally Posted by SoulMate View Post
    I have an AKG 419 clip-on which is really nice. But it has a tendency to be prone to feedback. A lot!
    Any tips to avoid this with these sensitive little condenser clip-ons?
    Avoiding feedback is all about managing your gain structure. If you are getting feedback, then your gain is turned up too high, or the output is turned up to high, or you are getting too much volume from your monitors, etc... Even feedback caused by EQ is caused by too much gain, it's just limited to the particular frequencies that are feeding back.

    Simply put: the loudest source at the microphone wins.
    Justice C. Bigler
    www.justicebigler.com
    alto: JK SX-90R clear nickel 110,xxx tenor: JK SX-90R nickel silver 121,xxx

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