A microphone for harmonica

Z

ZPphreak

New member
Okay, I've been reading the forum for a while and scouring.
I need to find out what people are using to mic harmonicas in general. I know that the Shure 520 has been "THE" Blues mic for a while.. or at least they have been the ones with the most face time on the reviews. Shure's newer version is the 520DX. it has a volume knob where the stand screw on/ mount was (the old one was called the 520 or 520 SL if it had a base stand and a PTT button) I understand that these mics use a omnidirectional "controlled magnetic or dynamic" capsule. Possibly this means that another omni dynamic may also be suitable...? Any suggestions on any mics like this that have worked for you guys on harps?

My application does not require the traditional "blues" sound per-say, BUT I do need something that is going to work with a harmonica and sound right: I.E. preferably hand holdable with the harmonica. I've heard that this technique is preferred for micing of a harmonica (if any of you have a better idea or have had another experience please let me know)
Vintage mic Suggestions are great and also welcomed since some vintage mics can be found pretty cheap. (esp. on eBay)

Mics I already have:
3X Samson R-21
1X MXL V-63
2X Behringer ECM-8000
and a few small electret condensors

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Basically if I've confused you I'm trying to find out:

A: Any recommendations for mic choice for harmonicas in general.
&
B: Any recommendations for mic placement /techniques on recording harmonicas.
 
No, I don't have or have tried the bullet...
I'm just looking for suggestions and offering my only current knowledge of the popular Blues harmonica mic.

sorry for the confusion.

-Brent
 
<i>Basically if I've confused you I'm trying to find out:

A: Any recommendations for mic choice for harmonicas in general.
&
B: Any recommendations for mic placement /techniques on recording harmonicas.</i>

Large condenser mic..... ADK 51-S. On mic stand at about eye level. EQ flat, no preamp.


http://members.cox.net/kjam22 mp3 "set my soul free"
 
Thanks for the reply kjam.
I listened to that mp3.
Very nice. Cool song and mix. Neat vocals.
Do you know how teh ADK 51 compares to my MXL V63 by any chance? just wondering if you or anyone else has both of these mics. not a bad looking mic...

-Brent
 
Sorry... I don't have the MXL V63. I do have the Studio Projects C1. If you want a comparison to that just send me a message.

Thanks for the compliments!
 
Yeah. my buddy has the C1 so I'd be interested in a comparison there since I could track at his house if I need to. I think my next LDC will be a C1 anyway. :D

Thanks

-Brent
 
SP c1 more effected by proximity. More crisp.

ADK 51-s more rich, warm tube sounding. Accurately called a mic with it's own color.

Both have bass roll off and 10 db pad. 51-s much better for recording a martin d-41. The "tone" of this mic is awesome with that guitar. 51-s better for my vocal. (I used it on the mp3 you heard). But SP c-1 has worked better for me on some other person's vocals (particularly female)

SP c1 better for recording spoken vocals (like a commercial). The crisp clarity is important there.

Recorded a shaker on one song. Tried both and chose the 51-s

C1 is a little hotter mic..... if proximitys are equal. 51-s is easier to use because the sound isn't as effected by proximity.

It's like everyone says.... some mics are better for different things... and a lot of it boils down to the sound you want and the way different people hear things.
 
Thanks alot for your time and sharing your experience kjam. I am still interested if anyone knows anything about the V63 in any comparison. I also would like to mention that the aforementioned Astatic JT-30 is a crystal microphone.. much different from the dynamic omni of the bullet I would assume... anyone care to take a stab at this...? I don't have a crystal mic and couldn't back it up with a quick listen unfortunately.. but I am interested if anyone has anything to say about crystal mics.

-Brent
 
For live I use a 520DX through an Ampeg Reverbrocket. In the studio I stand back about 6" from a chin high Marshall MXL V57M. I record flat and clean, then process through a Pod for that Chicago Blues sound. This song was recorded that way:



I'd stay away from the Hohner mics or other Astatic copies. The grill on the front of the mic gets in the way.
 
I've used the SM-58 and it worked fine for what I was doing........just recorded it straight, then threw an amp sim for some effect........
 
Thanks for the read powder. I might just try a '58 and a '57 too when I get that chance.. If you've got a clip of the harp sound on the '58 I'd really appreciate it.

Thanks

-Brent
 
A few clarifications.Sound-wise,we are discussing 2 completely different animals here,in my opinion.
Let's call it "acoustic" harmonica and "electric" harmonica.
For acoustic harmonica,any mic used for vocals should work fine.Try every one you own,and see how they sound for the music you're doing.
For electric harmonica,Green Bullets and Astatic JT-30's,etc,are usually plugged into a tube guitar amp for a (more-or-less) overdriven sound.You then mic the amp.For recording,am amp simulator could be used.
(Other handheld mics into a tube amp work also.The player's technique has a lot to do with it.)
You could try a "harp mic" straight into your recording rig,but you'd probably find the sound is neither fish nor fowl.The amplifier part of the signal chain really makes those low-fidelity mics come alive.
Some Astatic JT-30's have crystal elements;most don't.The crystal elements tend to break,though some players swear by them.There's a web page dedicated to that microphone with a lot of good info.A Google search should find it easily.
 
Thanks Dave. I'm definitely going to see what i can get out of what I've got first.. (and what I can get my hands on.. hehehe wes...) Again, I'm just looking for other answers other than " Green bullet" or "JT-30" as if it were a guitar cab and everyone was screaming '57!!!!

-Brent
 
The SM58 seems to me to be the real norm,Thats what Jon Popper uses. his signal chain is SM58 into a little imp with a potentiometer wraped up in tape going to a Bassman 100.

Mine is pretty much the same but Im using a Crate VC05 in an isolatoin cabinet with a SM57.
 
After the first time I played through a green bullet, I never wanted to play through anything else.
 
Popper has also used the Shure Beta 57A per the Shure
website's user list for vocals/harmonica.

Little Walter and Paul Butterfield both used microphones similar to
today's SM57. (Paul preferred a "pistol grip" Unidyne III BTW)
This is from a friend who was his aquaintance, and went to shows.
Other common classic dynamics would include a Sennheiser 421
or 441. For an inexperienced harp player like myself, the safest
bet among these three choices would be the SM57, as if the
clip is hit during performing, a 421 or 441 can make the suicide
leap to the floor! (unless you have one of the old GREY 421's
that screwed into a mikestand)

Chris
 
i recorded clean harmonica with a 57 at a distance of about 3 ft and it sounded great!

i had tried a rode nt1 and it was too bright and reedy

the 57 smoothed everything out


for the dirty blues sound i dont like the bullet. i have one and the omni pattern feeds back like crazy. it also doesnt sound as good as a 57 or 58 type mic with a wider freq resp

i get a fine sound with a radio shack "pro" model (ha ha ha) mic. really its not a bad mic at all.

i want to get a much lighter weight cheapie dynamic cause its a pain to hold these heavy mics while playing.

the search for the perfect dirty harmonica mic continues!

:)
 
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