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Topic: Mic Preference for Pedal Steel Guitar |
Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 24 Mar 2009 8:30 am |
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I have recently joined a band and they run everything through the mains. The band I normally play in does not, so I don't have a mic. I know lots of pickers swear by the Shure SM57.
The guys in the new band said they have some extra mics and I can choose which to use:
Shure PG57
or
AKG D9000
Any thoughts? This mic will be placed in front of my 1985 Evans FET-500, if that makes any difference.
Lee, from South Texas |
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Bob Hoffnar
From:
Austin, Tx
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Posted 24 Mar 2009 8:43 am
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I like the Sennheiser E609s hanging mic. Sounds great and very easy to deal with. Not expensive either.
_________________
Bob |
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Ulric Utsi-Åhlin
From:
Sweden
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Posted 24 Mar 2009 9:31 am
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sE Electronics Gemini Mk II has become my personal
favourite...it´s the greatest mike I´ve come across
in...ever...McUtsi |
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Ben Strano
From:
Nashville
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Posted 24 Mar 2009 9:44 am
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| Sennheiser 421 or a shure sm57 for me. |
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Brad Sarno
From:
St. Louis, MO USA
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Posted 24 Mar 2009 9:48 am
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Sennheiser 421 - hard to top this one
Sennheiser 409, 609, or 906 hanging mic - great warm and clear sound
EV RE15 - classic and clear
SM57 - works in a pinch, but not the best treble response for a smooth sound |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 24 Mar 2009 10:02 am
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| Quote: |
The guys in the new band said they have some extra mics and I can choose which to use:
Shure PG57
or
AKG D9000 |
My question is, out of the two mics they are offering, which, if any, would be more appropriate for pedal steel? If I can get away with not purchasing a mic and using one of theirs, I would like to go that route. I have two in college at the same time right now, so there's not a lot of extra cash laying around. After I get a couple of gigs behind me, I can start investing in needed equipment. |
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Ben Jones
From:
Seattle, Washington, USA
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Posted 24 Mar 2009 2:55 pm
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I dont think it will matter much which of those two you use. If i had to pick one over the other I'd choose the shure simply because the description describes its intended purpose as "useful for micing guitar amps" as opposed to the AKG whose stated purpose is "vocal and instrument mic". They're both cardioid dynamics so either will work fine and i wouldnt rush out to buy anything better, I dont think the difference in sound will be worth the money you spend, even tho the senn and shure sm57 mentioned above are relatively cheap.
I like to work with whats there and not costing me additional $. Theres a long tradition of doing just that that has yeilded amazing classic recordings and in this case the difference made by spending more money would be minimal anyway. He's just micing to PA, not recording.
If I had NO mic, yes...Id go buy the sennheiser and maybe a sm57 too. If i had unlimited money a nice ribbon mic ...yummy
Last edited by Ben Jones on 24 Mar 2009 3:03 pm; edited 1 time in total |
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Jonathan Cullifer
From:
Gallatin, TN
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Posted 24 Mar 2009 3:02 pm
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I also like the 421. The 57 is okay, but it's not my favorite. I really prefer some sort of condenser, but those are expensive and hard to come by.
I am also a huge fan of the Audix i-5. It has a much better high end than the 57. |
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Dan Tyack
From:
Olympia, WA USA
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Posted 24 Mar 2009 5:47 pm
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For live sound, the 57 is the standard, but the AKG might sound better. Mike it up and see which sounds better to you. THe sennheiser mikes mentioned sound better than the 57 for live work, but since that isn't an option, don't worry about it.
I love my ribbon mikes (I have a Royer, an AEA, 2 Shiny Box, and one PPA) but they pretty much suck for loud live work. |
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Brad Sarno
From:
St. Louis, MO USA
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Posted 24 Mar 2009 6:00 pm
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Indeed, ribbons mic's are incredible on steel. See photo above...
Brad |
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Chuck Snider R.I.P.
From:
West Virginia, USA - Morgantown, WV
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Posted 24 Mar 2009 6:10 pm
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Seems like some of the responses were missing your question.
The PG57 ($54) is the less pricey version of the SM57 ($99). The SM57 is a standard, not so sure the PG57 would fall into the same category. Although, I would beleive it would sound ok. I don't have any first hand experience with the AKG D9000 mic, but looking at the info online for it, it may be slightly better than the PG57. However, I think Dan's suggestion to plug one of them in and give it a spin is the real answer. It appears both mics would be acceptable, as they are both at somewhat the entry level range of decent mics, they certainly aren't on the high end. So, in the end, it may be a toss up. You might want to consider watching for a used SM57 on ebay, you could like pick one up for under $75. I just checked and some guy has some new ones for sale at $43 and free shipping.
-Chuck
_________________
GFI U-12 Ultra Keyless, Carter Black U-12, both with Alumitones, and a sweet '70 Sho-Bud Permanent D-10, NV400 in Rick Johnson cabs, NV112, '73 Vibrosonic in Rick Johnson cabs, Hilton pedal, Steeler's Choice seat, Bessdang Gizmos from Dale Hansen, and a few other widgets and doodads.
I may not sound good, I just don't wanna sound bad. |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 25 Mar 2009 3:38 am
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This is kinda like combing your hair before you get on the roller-coaster.
If you were doing studio work with all the instruments isolated, this might be an important decision. However, when you're out playing live, with a bunch of other instruments thrashing about on stage at the same time, and coming out of the same speakers, the mike choice really becomes rather insignificant, IMHO. As long as it doesn't feed back, and you can hear it, it's doing what's required.
What the guy running the sound is doing, and what kind of ear he has for the music, is far more important to the overall sound...and yours!  |
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Lee Baucum
From:
McAllen, Texas (Extreme South) The Final Frontier
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Posted 25 Mar 2009 4:23 am
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| Quote: |
| with a bunch of other instruments thrashing about on stage at the same time |
So, Donny, you're already familiar with the band I recently joined?  |
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Ulric Utsi-Åhlin
From:
Sweden
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Posted 25 Mar 2009 4:53 am
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Studio´s one thing & live appliances another matter
altogether,agreed,and I never bring my own mikes to
gigs,Public Address reinforcement is within the
realm of the sound guy´s duties.McUtsi |
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David L. Donald
From:
Koh Samui Island, Thailand
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Posted 25 Mar 2009 7:14 am
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| Brad Sarno wrote: |
Sennheiser 421 - hard to top this one
Sennheiser 409, 609, or 906 hanging mic - great warm and clear sound
EV RE15 - classic and clear
SM57 - works in a pinch, but not the best treble response for a smooth sound |
I'm with Brad on this.
Avoid the SM57 or 58. But most any Sennheiser will be good.
I use 421's a lot bullit proof.
If there are other 57's or 58's on stage they
tend to build up in the same freq. band, and turn things to mush.
You want your signal to cut through in a balanced way.
The more the clutter, the MORE you need this,
not the opposite.
Ribbon mics record lovely,
but are not the really right thing for live.
Basically any dynamic mic that is essentially flat response
for micing at a live gig is good.
_________________
DLD, Chili farmer. Plus bananas and papaya too.
Real happiness has no strings attached.
But pedal steels have many! |
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David Nugent
From:
Gum Spring, Va.
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Posted 25 Mar 2009 9:13 am mic
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| Where the mic is placed may be as important to your tone as the unit itself. Many sound people like to dangle the mic by its cord in front of the amp speaker, not the best system IMO. I find a small adjustable boom (actually intended to be attached to drum rims) works really well as an alternative. It clamps to most amp cabs and enables the distance the mic is from the speaker to be adjusted to suit your taste. It also fits easily into a small gig bag or even in the pedalboard compartment of your case. |
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