Microphone choice and position

sliding bill · From: UK

I have been using an AKG 1000 in my home studio and on stage with my Reso. Does the job quite well I feel.
However - I'm looking for that grail - a "better" sound.

What would your choice be?

Also.......
What is your favoured microphone position?

And finally.........
Do any of you ask for any specific EQ cut on stage?

Any advice from this sage group would be most welcome.

Cheers,

Bill

Mike Fried · From: Nashville, TN, USA

Bill, the choice in microphones (like most material things) is dictated largely by budget. I also have used a C1000S with fairly decent results, but lately I've been using a (less expensive) dynamic mic that I actually prefer the sound of, the Sennheiser e609. It's a fairly compact side-address mic that's used mostly for mic'ing guitar amps and sometimes drums, but I was very surprised to find out just how good it sounds on my reso's - less harsh and more natural than the C1000S, although it does require slightly more preamp gain. Its hypercardioid polar pattern makes it less feedback-prone in many situations, also. In the states it sells for around $110.

If you want to spend considerably more money than the C1000S costs, the Shure KSM32 seems to be a popular choice among top pros such as Jerry Douglas. They are very rugged for a consenser mic and do sound great, but they're about twice the price and do require 48vdc phantom power.

Now as for live EQ, the particular instrument and room will dictate much of what needs to be done, but I've found that a slight cut at around 125hz to be useful most of the time. Unless it causes feedback, I also like a little boost around 1.6-1.8khz, to bring out the reso's midrange bite and cut through the mix.

My favorite recording mic position is facing the top at about a 30-degree angle from horizontal, pointing about midway between the edge of the coverplate and the soundholes. I always set the mic positon using good closed headphones set a little louder than usual, so I'm really hearing the mic and not the guitar. The distance from the guitar's top depends on how much of the room I want to hear, which in turn depends on how dense the final mix is likely to be. Onstage, I find I usually need to point the mic farther back toward the tailpiece, usually around the center of the coverplate on the treble side of the bridge and close-in.

[This message was edited by Mike Fried on 27 October 2006 at 12:03 AM.]

David L. Donald · From: Koh Samui Island, Thailand

It partly is what sound are your looking for.
Then live or studio.
Then budget.

As to placement, well a good rule of thumb for dobro is,
put the instrument on a cloth covered table
and pick it with one hand
and move your ear around over it.
N S E W up and down.

This will give you an idea where sounds are going from the instrument.
And how they develope over distance.

You can also try next to go to about the
same positions you liked, while using the bar,
or have a friend pick some high, lo and mid notes while barring in different positions,
as you listen.

As too mics, well an acurate mic will give you back pretty much what is happening where you aim it.
Once you learn where you like the sound.

If I am alone, I put on headphonmes
and move the dobro, on my knees, around
till I find a sound that jumps out in the mix.

Then do a small test recording listening on the speakers.

BUT other mics like ribbon mics, 'inexpensive mics',
or unusual mics like a harmonic bullit mic, will tend towards a warmer or possibly 'ratty'r' or retro sound.

I am looking forward to trrying the
Shinybox Ribbon mic for dobro when it gets here.

A live mix is dependant on the
OTHER sounds already in the mix.
it may sound gorgeous by itself,
but if it doesn't cut through the live mix,
then it is only good for playing alone.

Jackie Anderson · From: Scarborough, ME

There are a lot of decent mics for this purpose, but a good while back, Brad Sarno recommended the Shure Beta 57A for live sound use on resos. I, among others, tried one and have been very pleased. It's a rugged dynamic mic, quite able to withstand road use. It has more high end response than an SM-57, which seems quite complimentary for resos. It has a very tight pickup pattern and is quite feedback-resistant. It costs more than an E-609 but considerably less than a KSM32.

sliding bill · From: UK

Thanks very much for your thoughts.
Much appreciated.

Bill

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Aspiring to mediocrity

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