Anyone here ever use a E906 on a guitar cabinet?

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PorterhouseMusic

PorterhouseMusic

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I have an opportunity to grab a new one at a discounted price. Have any of you had good results with recording electric guitar with one of these?

I still like to record my cabinet(s) occasionally. I've always been happy enough with the a 57 and 421 - but I hear good things about the E906.

Just curious.?
 
I have one and used it a few times on a combo amp. Love the idea you can wrap the cable around the handle and let the mic hang in front.
The recording is upside down though... ?
 
Dave Matthews said:
I have one and used it a few times on a combo amp. Love the idea you can wrap the cable around the handle and let the mic hang in front.
The recording is upside down though... ?
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That's ok - I can just flip it back right-side-up in the DAW using the invert plug-in.:D
 
All I really was looking for was if one or two people say "I was disappointed" or "I had problems with it" - and their explanations made sense.

Something tells me that's not going to happen. Finger on trigger.
 
Dave Matthews said:
PULL!!!
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One thing I forget about often in these situations is the incredibly generous return policies of most companies that I purchase gear from. I keep forgeting.... I can buy it, try it, and if I have some issue - boom.... back it goes.

Aaaaaand it's done. e906 on the way. Sheeeeit.... it'll probably be here before I'm done typing this sentence. :LOL:
 
Both the Sennheiser mics in this form factor work pretty well on cabs just because they're a dynamic that is easy to attach/dangle in the right place and the usual thing of dangling on the cable makes them pretty foolproof too. Hard to misplace, unlike a mic on a stand.
 
And just like that - It's here. It's incredibly light weight. Trying it through a couple different preamps so far. Sounds great. I'll do some comparison testing a little later against the MD421 and SM57.
 
Trry the E906 and a Ribbon Mic for an incredible meaty sound - actually try it with alll three - the E906 has a presence switch too - if you happen to have a darker sound recording - otherwise they are just about the same - although if I had to hammer a nail the SM57 would win that every time.
 
Papanate said:
Trry the E906 and a Ribbon Mic for an incredible meaty sound - actually try it with alll three - the E906 has a presence switch too - if you happen to have a darker sound recording - otherwise they are just about the same - although if I had to hammer a nail the SM57 would win that every time.
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I had an e609 and didn’t like it. Too scooped and fizzy with high gain. One of the few mics I’ve ever sold. How does the e906 compare?

I’m currently using an sm57 or Audix D2 paired with a beyerdynamic m160 and love the combo. I did really like the e609/e906 form factor though!
 
Flyguitarfish said:
I had an e609 and didn’t like it. Too scooped and fizzy with high gain. One of the few mics I’ve ever sold. How does the e906 compare?
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The e609 and e906 are practically the same capsule - but the e906 has a switchable presence filter - which makes it potentially more useful - and it’s taylored to Guitar Cabinets - it will do better in most circumstance.

Flyguitarfish said:
I’m currently using an sm57 or Audix D2 paired with a beyerdynamic m160 and love the combo. I did really like the e609/e906 form factor though!
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You won’t gain much if anything with the Sennheisers IMO.
 
Dave Matthews said:
Love the idea you can wrap the cable around the handle and let the mic hang in front.
Click to expand...
I kinda hate when I see people do this. It’s just half-assed and lazy, very difficult to get precise positioning, and having the mic just swinging can’t be good for phase stability. In a pinch, if you’re really out of mic stands, it can be better than nothing, but if you’ve got the shit to do it correctly but just choose not to, you’re a dick. Even better is when people do this with a 57/58. That floor sounds great!
 
I see it a lot in live sound. In fact my boss has recommended it to me once or twice. I’m always “Can I just have another stand or two?!?” It gets into the realm of messing with my performers’ gear which I try hard to avoid. That guitarist is definitely going to want to turn the exact knob that I’m dangling in front of, and what happens at the end of the set when they want to grab their amp? If I’m lucky they’ll wait for me to get over there and untie it for them.

More to the OP - 906 is not better than a 57. Different, and for a decent price maybe worth having as an option or even just spare. I agree with the comment above about the 609 though. It’s not…horrible.. and in some context could be just right, but it is pretty ugly on the things I’ve tried so far.
 
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PorterhouseMusic said:
I have an opportunity to grab a new one at a discounted price. Have any of you had good results with recording electric guitar with one of these?

I still like to record my cabinet(s) occasionally. I've always been happy enough with the a 57 and 421 - but I hear good things about the E906.

Just curious.?
Click to expand...
They are nice to record with just like the 421. However in all instances, draping the mic over the cab is bad mic positioning for all of them. In a pinch it works for live, but for recording its better to put it on a short stand 2 inches away from the cab.
 
drtechno said:
They are nice to record with just like the 421. However in all instances, draping the mic over the cab is bad mic positioning for all of them. In a pinch it works for live, but for recording its better to put it on a short stand 2 inches away from the cab.
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This is what I do. I put it on a short stand in position it right in the sweet spot where I want it
 
PorterhouseMusic said:
This is what I do. I put it on a short stand in position it right in the sweet spot where I want it
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That's cool. Another thing you should try is different speakers. Because I find changing speakers goes much further in getting a better sound than different microphones. So basically the sound and what makes a difference in equipment (in order)
1. Speaker
2. Mic placement
3. microphone choices
4. preamp/channel strip
 
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