R
Richard Monroe
Well-known member
Well, I've had this mic for quite a while, and it hasn't spent too much time up. I bought it mostly because it was a type of mic I didn't own, and GC was willing to sell it to me cheap ($175 new in case). It turned out to be the ticket for one vocal that was giving me trouble, and that track alone paid for it. What the hell, I can't afford Royer or RCA right now.
I kept reading that a lot of people use ribbons on cabs and strings, so I figured I'd stick it up. Please note that my concept of electric guitar and cabs is waaaay off from the mainstream. I'm really a songwriter, and my main gig is acoustic. However, I have a background in psychedelic rock, so I tend to combine acoustic and electric tracks. I have 3 main rigs. The first is a Les Paul with classic 57's plugged into a VAMP II into a Fender Passport PD250 (a small PA) and mic'd up, usually with a B.L.U.E. Kiwi into Avalon AD2022. That's ideal for super duper Ivory Snow clean. The second is really weird-Highway one Telecaster into POD Pro > line out into an M-Audio SP5B and SBX subwoofer, mic'd up with Kiwi/Avalon. That rocks in the studio. The flat reference amps in the monitors reproduce the amp and cab model faithfully, at a very low volume level, and with no noise.
I use studio mode for that, not live mode, which disables the cab model.
The third is what I use just for jamming, and occasionally recording. It's POD Pro into a Carver PM125 power amp into a 1X12 Marshall cab with a Celestion Vintage 30. That's got that nice resonance that comes with a good small cab. I can only describe it as sounding "big", rather than clean. I've had a devil of a time finding the mic that can capture that quality for recording. Thus far, I've had my best results with AKG C2000B, believe it or not. It's the one thing where C2000B beats a bunch of good mics, including Kiwi, C414B-ULS, SM7B, EV N/D257, e609 silver, NTK, and the good old SM57. I stuck up the ML-52 tonight, and there was that sound, coming out of the monitors! I can't believe I haven't done that before now. My next plan- try it out on a violin. I also want to get somebody in here that plays a cranked up small tube combo amp, and see what it does with that.-Richie
I kept reading that a lot of people use ribbons on cabs and strings, so I figured I'd stick it up. Please note that my concept of electric guitar and cabs is waaaay off from the mainstream. I'm really a songwriter, and my main gig is acoustic. However, I have a background in psychedelic rock, so I tend to combine acoustic and electric tracks. I have 3 main rigs. The first is a Les Paul with classic 57's plugged into a VAMP II into a Fender Passport PD250 (a small PA) and mic'd up, usually with a B.L.U.E. Kiwi into Avalon AD2022. That's ideal for super duper Ivory Snow clean. The second is really weird-Highway one Telecaster into POD Pro > line out into an M-Audio SP5B and SBX subwoofer, mic'd up with Kiwi/Avalon. That rocks in the studio. The flat reference amps in the monitors reproduce the amp and cab model faithfully, at a very low volume level, and with no noise.
I use studio mode for that, not live mode, which disables the cab model.
The third is what I use just for jamming, and occasionally recording. It's POD Pro into a Carver PM125 power amp into a 1X12 Marshall cab with a Celestion Vintage 30. That's got that nice resonance that comes with a good small cab. I can only describe it as sounding "big", rather than clean. I've had a devil of a time finding the mic that can capture that quality for recording. Thus far, I've had my best results with AKG C2000B, believe it or not. It's the one thing where C2000B beats a bunch of good mics, including Kiwi, C414B-ULS, SM7B, EV N/D257, e609 silver, NTK, and the good old SM57. I stuck up the ML-52 tonight, and there was that sound, coming out of the monitors! I can't believe I haven't done that before now. My next plan- try it out on a violin. I also want to get somebody in here that plays a cranked up small tube combo amp, and see what it does with that.-Richie