using the famous sm57

[Michael Jones]

Ok, that was cool. Smooth, warm tone. Artcross, this is what people are talking about. It's not a typical condensor sound - but you can hear the unique qualities it has on its own, and the benifits its would bring come mix time. Damn Michael Jones, why didnt you play longer? I was into that...

T

(Then you should really like this! )

Contrast those (SM57's) with these TLM 103's (LD Condensors)

While the SM57's did a great job at faithfully reproducing the Grand Piano, I can't help but to feel they were lacking a certian richness that the LDC's were able to produce.
Is that "richness" accurate? Probably not.
LDC's by their very nature, add an amount of distortion to the recording.
Sometimes, that distortion can be VERY pleasing.

http://artists.iuma.com/site-bin/streammp3.m3u?190193

What it comes down to, is knowing how to use the tools you have available to produce the best sounding recording.
While we can all make suggestions, and point you in a certian direction, none of us are using your equipment, in your room.

Spending hours and hours experimenting with mic choice and placement is akin to spending hours and hours in the practice room. There is no quick fix.

 

[chessparov]

If and when I'm ever in a pro studio doing pop vocals on a "commercial" recording, would have no qualms about using a SM57 for the vocals-as long as the AE has experience tweaking it
accordingly via placement and/or EQing.
This is also assuming that said studio has something like an RNP or an Avalon 737 on up, not an ART Tube MP or some such.

When A/B'd vs. a U87, the Shure edges it on my voice so it does
happen sometimes... (Avalon 737 was used as pre)

Chris

 

[Han]

yeah, thanks guys, i'm definitely keeping mine now. One last question though, if you had a sp b1 and an sm57, which would you put on a kick and which one would you put on the snare, if those were the ONLY two mics you had? Disregard OH/toms/etc.

Never, I repeat NEVER use a LDC or even a SDC on or close to a (loud) kick, for you will damage the diapragm.

Even a dynamic will suffer from loud kicks, especially when you put them in the (small) hole in the front head, 'cause there's a big storm blowing there.

If you want an expert's opinion: http://recforums.prosoundweb.com/index.php/t/196/0

 

[teainthesahara]

Never, I repeat NEVER use a LDC or even a SDC on or close to a (loud) kick, for you will damage the diapragm.

Even a dynamic will suffer from loud kicks, especially when you put them in the (small) hole in the front head, 'cause there's a big storm blowing there.

If you want an expert's opinion: http://recforums.prosoundweb.com/index.php/t/196/0

So, in other words, are you saying that a dynamic mic placed in a kick drum (close to the beater, or just inside the front head) has a finite expiry date due to that application? I would like to hear more opinions on this. It would suck if i ruined my senn 521 for vocal use because of using it on drums.

 

[Han]

Have you followed the link I posted? Klaus Heyne is a famous expert in renovating classic mics.

 

[DJL]

So, in other words, are you saying that a dynamic mic placed in a kick drum (close to the beater, or just inside the front head) has a finite expiry date due to that application? I would like to hear more opinions on this. It would suck if i ruined my senn 521 for vocal use because of using it on drums.

Maybe somewhat, but dynamic mics are used all the time on kick drums... but Han was referring to using the mic on the front head sound hole where there is a big gust of air blasting the mic... and that could kill a condenser mic and can't be good even for a dynamic mic and over time (I think) it maybe could even kill it.

 

[teainthesahara]

Have you followed the link I posted? Klaus Heyne is a famous expert in renovating classic mics.

Yup, i did and thanks for posting it. Based on that link however, it is still equivocal whether there is any effect on the mic when used according to it's SPL rating. It seems that Heyne has some anectotal evidence, and that is why i want to hear more opinions...to see if there is actualy a trend among many engineers, or perhaps there is something specific to his 'L.A. studio's in rotation" where once a year capsules must be changed!

T

 

[teainthesahara]

Contrast those (SM57's) with these TLM 103's (LD Condensors)

While the SM57's did a great job at faithfully reproducing the Grand Piano, I can't help but to feel they were lacking a certian richness that the LDC's were able to produce.
Is that "richness" accurate? Probably not.
LDC's by their very nature, add an amount of distortion to the recording.

Cool composition, and great sound on that last one. Your recordings posted in this thread are quite effective at showing why one would choose or not choose to use the sm57. Your starting to remind me of sonusman in a way; a peice of recording equipment get's dogged considerably..and then all of a sudden an awesome recording is posted featuring that same dishevled recording device

 

[artCROSS]

I knew i was never suppose to use a normal LDC on a kick, not so much for the volume level, but the air pressure, however, i was under the impression the b1 had such a large spl that it was ok to use it on a kick...thanks for warning me about it before i do anymore damage to it.

 

[teainthesahara]

I knew i was never suppose to use a normal LDC on a kick, not so much for the volume level, but the air pressure, however, i was under the impression the b1 had such a large spl that it was ok to use it on a kick...thanks for warning me about it before i do anymore damage to it.

You can still use the B1 on kick...just dont stick in there! What i do is build a little tunnel with sound blankets, and put the condenser mic about 3 feet or so out from the kick. You capture the bottom end really nice that way.

 

[DJL]

I knew i was never suppose to use a normal LDC on a kick, not so much for the volume level, but the air pressure, however, i was under the impression the b1 had such a large spl that it was ok to use it on a kick...thanks for warning me about it before i do anymore damage to it.

IMO, you'd be better off with an MD421, ATM25, D112, or something like that to mic your kick with anyway.

 

[Han]

The Beyer M88 is a great kick mic, but I know some stories about 88's that got killed on kick.

One of the most famous kick mics, the D12 can suffer as well from loud kicks. I have two of them and one day a metal drummer managed to blow a dent in the diapragm. The low end was gone and it needed a new capsule.

Put your mic inside the kick or outside, but never in or close to the hole.

 

[bubbagump]

Audix D6 on kick. Sounds great, hardly any EQ necessary, takes a beatin'. What more could you ask for?

 

[DJL]

An MD421.

The Beyer M88 is also nice... I've never tried the the D6 tho.

 

[Han]

For a specific kick sound the old D12 is hard to beat.

 

[artCROSS]

this may be blantantly obvoius, and i'm just missing it, but if we're not suppose to put a mic in front of the hole, what is the hole for?

 

[Harvey Gerst]

this may be blantantly obvoius, and i'm just missing it, but if we're not suppose to put a mic in front of the hole, what is the hole for?

It's to allow engineers to place the mic inside the kick, close to the beater head, without having to take off the whole front drum head, like we did in the old days.

 

[artCROSS]

ahh, ok...so it's ok to put it outside, and it's ok to put it inside, but it is not ok to put it in front of the whole b/c the concentrated air rushing out of it will damage the mic...almost like a hose shooting water?...

 

[chessparov]

Harvey IYO has the SM57 beaten out other mic choices many times? (yes it's rhetorical)

IIRC recently you were saying how amazing it can sound with a compatible mic pre.
Funny how that isn't the first time someone has said that isn't it? Oops I did it again.

Please keep in mind that I also respect the B1 too quite a bit BTW. Seems like a good workhorse
choice for even a pro studio, although the T3 is my fave in the SP line.

Chris

 

[DJL]

ahh, ok...so it's ok to put it outside, and it's ok to put it inside, but it is not ok to put it in front of the whole b/c the concentrated air rushing out of it will damage the mic...almost like a hose shooting water?...

It's also ok to use two mics (one inside near the beater for attack and one outside for bottom). Or even both mics on the outside... one near the beater and one in the front.