Giant_Kyle
New member
What are the noticable differences, i'm new to this, saw they were both the same brand, and numbering scheme, but have different lettering. PG vs SM let me know please. thanks guys!
PG57/58 vs SM57/58
- Thread starter Giant_Kyle
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Giant_Kyle
New member
so bite the bullet and get the SMs? i'm slowly piecing together some recording gear. so i know i can't afford the best, but i dont want crap either. I'm going to buy a Firepod, and an assortment of mics for now. can i get some reccomendations for a decent setup of mics. i will be recording vocals, acoustic, electric, bass, drums. Also an occasional "screamer" for lack of a better term. Thanks in advance guys/gals
Most definitely get the sm57. I hate to be the bearer of bad news but the sm57 is about as budget as you can get. If you want to get good results your going to have to spend a little more than $70 for a microphone. Also always try to find the best deals you can get. eBay is great sometimes. Check www.froogle.com. A lot of times web sites will do price matching. If you send them a link to the lowest price you can find, you can usually get $10-20 less than the lowest price. Good luck, your at the start of a very long, but rewarding journey.Giant_Kyle said:
Giant_Kyle
New member
sweet thanks. What would you guys reccomend as a good condencer voacal mic? MXL decent? thought about the B1, i've read several of the sites, just looking for some input from you guys i guess. 
Giant_Kyle
New member
i'll take one. u can have the other
Fab4ever
Getting better
The Studio Projects B1 is an excellent low-cost workhorse condenser. I've recorded guitar and vocals and a bit of percussion with it and it sounded good in all cases. YMMV, of course.....
I've also owned the MXL V-67, which can really work well on some voices. It's less neutral than the B1, though some consider it grainy.. for under 100 bucks I don't think there are many better mics.
If you're recording acoustic guitar, the MXL 603S or perhaps the 604 might also be good low-cost candidates.
I've also owned the MXL V-67, which can really work well on some voices. It's less neutral than the B1, though some consider it grainy.. for under 100 bucks I don't think there are many better mics.
If you're recording acoustic guitar, the MXL 603S or perhaps the 604 might also be good low-cost candidates.
reshp1
New member
Some of the MXL condensers are decent. I'd stay away from the 990 for a vocal mic, but some of the others are okay to good. My personal favorite budget LDC condenser is a Oktava MK319, but they're kinda hit or miss so maybe I just got lucky with mine. A studio projects C1 is another good option. AudioTechnica gets a lot of respect around here too. If you can wait, save up some money. Things get much better in the $500 dollar range of mics.
Giant_Kyle
New member
looking into the Oktava MK319. found one for 90 used. they're only 100 new lol
Chibi Nappa
New member
All I have to say is if you're ever going to record rock n' roll, you're going to want at least 1 SM 57. 100% gauranteed.Giant_Kyle said:
I have 4 of 'em.
reshp1
New member
Cool, where? Can you try it out. There's a few reputable octava dealers on the internet (soundroom comes to mind), but otherwise try them out first or make sure they have a good return policy on mics.Giant_Kyle said:
[rant=on] Back a few months ago Guitar Center was blowing out these things, trying to purge their stock after the whole counterfeit MC012 fiasco. Anyway, I show up and asked if they had any in stock still and the weasel behind the counter tells me "you're in luck, we have one MK319 left." He pulls it out from the back and hands it to me. The bag looks a little beat up so I asked if it was used, and he said, "no, they all look like that." Well, I took it out of the bag and it looked like the thing had been used as a doorstop in siberia for 5 years. The grill was all dented in and the finish was worn completely off in multiple spots. Nice try GC, maybe next time [/rant=off]
soundchaser59
Reluctant Commander
The PG mics are intended for paging and public address systems, not really for hi fi music. Maybe they are just trying to reduce inventory on them, ya never know.
I have no experience with the Marshall MXL mic series, but I have not yet heard anything bad about them. The only reason I dont have one is because I had a less than good experience with some other Marshall gear recently, and I have generally speaking had regrets every time I have bought a "budget" piece of gear whether it's a mic, an amp, a speaker, etc. But I emphasize that I have never heard anyone say anything bad about the MXL mics. I figure if someone like Harvey says they are "interesting" then they should not be ruled out!
I shy away from the other budget mics just because I hear a lot of complaints about them, some people have no problems, others hate them and regret not buying something better.
I started out on a shoestring budget once, most of us did. What got me to start saving money for better gear was when I rented a condensor mic for the first time. I did side by side compare of tracks done with my familiar budget gear, and tracks done with the rented condensor. Just one listen was all it took, and I have never bought a really cheap mic since.
Based on that experience, experiences since then, and on the word of several trusted acquaintances in the business, I concluded that brands like Studio Projects, AT, Shure, Rode and (Russian made) Oktava are probably the best "entry level" mics for a rookie. I would never recommend buying anything less than a Studio Projects. SP is, in my ever so humble opinion and with all due respect, the "lowest acceptable" condensor mic to get.
And in keeping with my humble streak, I would suggest that the SM57 is the least acceptable dynamic mic I would ever recommend. It is not the best, but it is pervasive and well known, even by rookies, for a reason. I have to confess I am including standard "budget" mics like the Sennheiser E609 and a couple of the AKG "budget" dynamics like the D770 in that category just because I have actually used them on my guitar amps and they are more than fine for that. But for another $50 if I were starting over I would definitely buy the EV ND468 for my guitar amp and forget about the others.
The difference in sound is quite noticeable, and worth the extra cash to me, especially since I'm a guitar player.
Most of the time, with most mics, with most people, that will be a true statement.
I have no experience with the Marshall MXL mic series, but I have not yet heard anything bad about them. The only reason I dont have one is because I had a less than good experience with some other Marshall gear recently, and I have generally speaking had regrets every time I have bought a "budget" piece of gear whether it's a mic, an amp, a speaker, etc. But I emphasize that I have never heard anyone say anything bad about the MXL mics. I figure if someone like Harvey says they are "interesting" then they should not be ruled out!
I shy away from the other budget mics just because I hear a lot of complaints about them, some people have no problems, others hate them and regret not buying something better.
I started out on a shoestring budget once, most of us did. What got me to start saving money for better gear was when I rented a condensor mic for the first time. I did side by side compare of tracks done with my familiar budget gear, and tracks done with the rented condensor. Just one listen was all it took, and I have never bought a really cheap mic since.
Based on that experience, experiences since then, and on the word of several trusted acquaintances in the business, I concluded that brands like Studio Projects, AT, Shure, Rode and (Russian made) Oktava are probably the best "entry level" mics for a rookie. I would never recommend buying anything less than a Studio Projects. SP is, in my ever so humble opinion and with all due respect, the "lowest acceptable" condensor mic to get.
And in keeping with my humble streak, I would suggest that the SM57 is the least acceptable dynamic mic I would ever recommend. It is not the best, but it is pervasive and well known, even by rookies, for a reason. I have to confess I am including standard "budget" mics like the Sennheiser E609 and a couple of the AKG "budget" dynamics like the D770 in that category just because I have actually used them on my guitar amps and they are more than fine for that. But for another $50 if I were starting over I would definitely buy the EV ND468 for my guitar amp and forget about the others.
The difference in sound is quite noticeable, and worth the extra cash to me, especially since I'm a guitar player.
Most of the time, with most mics, with most people, that will be a true statement.
Giant_Kyle
New member
you guys are awesome. thanks!!! keep the good news coming
amra
Well-known member
You can't go wrong with a Studio Projects B1, for vocals, and even for micing amps. It isn't bad for accoustic guitar either. The only caveat for a beginner is that being a condenser, it requires phantom power....
Now the SM57 is another good all around mic for a beginner, but it does not have a lot of high end, so it is not necessarily suitable for all types of vocals. On the other hand, it is a dynamic mic, and doesn't require a lot of gain or phantom power, which is a consideration for people just starting out.
If I had to pick just one mic, and my budget was a $100, I would pic the B1. if I could pick two for under $200, I would have one B1 and one SM57.
Now the SM57 is another good all around mic for a beginner, but it does not have a lot of high end, so it is not necessarily suitable for all types of vocals. On the other hand, it is a dynamic mic, and doesn't require a lot of gain or phantom power, which is a consideration for people just starting out.
If I had to pick just one mic, and my budget was a $100, I would pic the B1. if I could pick two for under $200, I would have one B1 and one SM57.
soundchaser59
Reluctant Commander
I have no idea if this "theory" of mine is valid or not, but it sure starts out good in spirit....
I just test drove a tube preamp for the first time, nothing dazzling, nothing high voltage, but since it was my very first time I dont know the difference from one tube pre to the next anyway. But I could definitely hear a difference between the tube pre and the hi-gain solid state stuff that I'm used to. More than that, I could swear I was seeing the difference in the meters. The tube signal was easier to control, the solid state signal was much more likely to spike and shoot way up and down.
I shared my impressions with someone, and he suggested that the tube acts like a compressor, makes it "warm", blah blah blah, etc.etc.etc..... He also said that the sound of an AKG C414 would really change thru a tube pre as opposed to a solid state pre. Then it dawned on me......
Maybe mics that were originally designed during the days when tubes ruled and solid state was not yet solid, maybe those mics really would sound better because they were originally made to work with tube preamps??? Then goons like me come along 20, 30 years later and stick the darn thing into a searing solid state trim gainer, then end up wondering why it just doesn't give me that Bing Crosby Dean Martin sound!
Maybe thats why someone has a signature (cant remember if its here or on a different forum) that says something about a dynamic mic like the SM57 really needing a tube preamp in order to come alive and show us what it can do. Maybe there really is something to that after all. After last night, I will NEVER underestimate the value of aiming for better and better tube preamps for getting smooth vocal sounds outa some of these cool mics!
I just test drove a tube preamp for the first time, nothing dazzling, nothing high voltage, but since it was my very first time I dont know the difference from one tube pre to the next anyway. But I could definitely hear a difference between the tube pre and the hi-gain solid state stuff that I'm used to. More than that, I could swear I was seeing the difference in the meters. The tube signal was easier to control, the solid state signal was much more likely to spike and shoot way up and down.
I shared my impressions with someone, and he suggested that the tube acts like a compressor, makes it "warm", blah blah blah, etc.etc.etc..... He also said that the sound of an AKG C414 would really change thru a tube pre as opposed to a solid state pre. Then it dawned on me......
Maybe mics that were originally designed during the days when tubes ruled and solid state was not yet solid, maybe those mics really would sound better because they were originally made to work with tube preamps??? Then goons like me come along 20, 30 years later and stick the darn thing into a searing solid state trim gainer, then end up wondering why it just doesn't give me that Bing Crosby Dean Martin sound!
Maybe thats why someone has a signature (cant remember if its here or on a different forum) that says something about a dynamic mic like the SM57 really needing a tube preamp in order to come alive and show us what it can do. Maybe there really is something to that after all. After last night, I will NEVER underestimate the value of aiming for better and better tube preamps for getting smooth vocal sounds outa some of these cool mics!
dinorocker
New member
Right away - the PG series are live-performance karaoke mics. Cheap, low performance, and for best results, the audience should be slightly high on substances (at which point they'll enjoy anything if they can place the tune).
The 57/58 labelling is a marketing gimmick by Shure - there is really no relation at all between the PG and the SM series as far as I know.
If you want cheap live-performance mics, check out stuff like the Samson R11 kind of mics - value for money, can take a beating, and way cheap. $69 gets you three of them at Zzounds.com. I picked up some for band practice, and would buy more in a flash.
None of the above should even be considered as studio mics, especially not for vocals.
In the sub-$100 category, almost all the condensor mics are more or less the same in performance - typically slightly overbright, and the sound is a *wee* bit rough.
But there are times when that is *exactly* what you want. I have a MXL990 in my colelction that the pros sneer at - until they hear the right kind of song from the right kind of vocalist recorded on one of these beasts. $49 at Zzounds.com last time I checked, comes with spider mount and despite the sneers is pretty much good value for money. A matched pair of these make excellent overheads for drum mic-setups.
As a good low-end studio mic for vocals, I agree with everyone else that the Studio Projects B1 is the way to go.
About the tube-based pre-amps: most of the low end models (Behringers, ARTs, etc.) are of the "starved tube" design (google for it), and there isn't that much of a difference between them and a solid-state pre like the Audiobuddy. The design typically "adds" to the sound in strange and mysterious ways, unlike high-end tube-pres that really go to town on the actual sound. Sometimes, that's exactly what you want, sometimes it sounds like someone ran a lawnmower over your mic.
And the glowing tube (a window is always provided) sure makes a pretty sight - until you realise that the actual glow comes from a couple of LEDs placed behind the tube
To get quality results, you need to cough up moolah - the RNP is recommended and aptly named.
The 57/58 labelling is a marketing gimmick by Shure - there is really no relation at all between the PG and the SM series as far as I know.
If you want cheap live-performance mics, check out stuff like the Samson R11 kind of mics - value for money, can take a beating, and way cheap. $69 gets you three of them at Zzounds.com. I picked up some for band practice, and would buy more in a flash.
None of the above should even be considered as studio mics, especially not for vocals.
In the sub-$100 category, almost all the condensor mics are more or less the same in performance - typically slightly overbright, and the sound is a *wee* bit rough.
But there are times when that is *exactly* what you want. I have a MXL990 in my colelction that the pros sneer at - until they hear the right kind of song from the right kind of vocalist recorded on one of these beasts. $49 at Zzounds.com last time I checked, comes with spider mount and despite the sneers is pretty much good value for money. A matched pair of these make excellent overheads for drum mic-setups.
As a good low-end studio mic for vocals, I agree with everyone else that the Studio Projects B1 is the way to go.
About the tube-based pre-amps: most of the low end models (Behringers, ARTs, etc.) are of the "starved tube" design (google for it), and there isn't that much of a difference between them and a solid-state pre like the Audiobuddy. The design typically "adds" to the sound in strange and mysterious ways, unlike high-end tube-pres that really go to town on the actual sound. Sometimes, that's exactly what you want, sometimes it sounds like someone ran a lawnmower over your mic.
And the glowing tube (a window is always provided) sure makes a pretty sight - until you realise that the actual glow comes from a couple of LEDs placed behind the tube
To get quality results, you need to cough up moolah - the RNP is recommended and aptly named.
Giant_Kyle
New member
okay, so i will be purchasing either the B1 or the Octavia 319 mic. no where to test them out around here. so change topic to b1 vs 319. thanks for all the awesome help guys, this forum is amazing.