Re: microphone

["Krispen Hartung" <khartung@cableone.net>]

----- Original Message -----

> The funny thing is, while the SM58 is your run-of-the mill stage vocal
> microphone (which might be used on other things as well in times of need),
> the SM57 still seems to be one of the standard choices for guitar amps and
> snare drums, and in this realm is also found in recording studios next to
> the Brauners and Neumanns.

 

that's true, yet I still see A LOT of SM57s on stage as backup vocal mics. 

 
> There are a few things you might try for fun with SM57s, like miking an
> entire drum kit with four of them. You get a very punchy sound which saves
> you the compressor, the EQ and even works well on small playback systems
> without proper low-end reproduction.

That's close to what I did at the Boise Experimental Music Festival. The drum recording of Robert Sterling on drums with the Transhumans....just two overhead SM57s. Joe and Lucio's guitar recording...two SM57s on the speakers of their amps (one a Roland Microcube). My voice on both the set with Lumper-Splitter and Robert Sterling...SM57.  The recording of Moe! and Z'EV....just one SM57 used as an ambient mic. The free jazz recording that no one has heard yet of Tom Baker and Tom Baker (gutiar) & Jesse Canterbury (clarinet)....two SM57.  The reocrding you haven't heard of Rob Price and David Grollman from NY...SM57s on the drums and one on the guitar amp.  Shall I say more? And the records are actually quite good for live recordings.

 

It's tough to knock the SM57. If someone has a problem with the frequency response, you just punch the lacking frequenies or notch the offending frequencies, but I rarely have to do this.

 

Kris