Anfontan
Banned by eurt
A set of the MSH-10s worked good for a tune I did with guitar, mandolin, and resonator dobro. Don't play right on the mic though or it'll get too bright-
D
danny.guitar
Guest
The MSH-1A was great on my acoustic. The Behringer ECM8000's are great if you have a good recording environment and you like the sound of your guitar. They're measurement mics so they're pretty flat to my knowledge.
But for $200 I think you could probably find something better. They're worth a try though.
But for $200 I think you could probably find something better. They're worth a try though.
Treeline
New member
I use a MXL 603s at the 12th fret with a SP B1 a couple of feet from the belly of my jumbo acoustic guitar (Taylor 815C). I also tend to run signal from an internal pickup to blend.
Just picked up a handful of MSH mics (2 pairs - omni, wide cardioid and an omni tube mic). So far I've used the MSH as drum overheads on live gigs - fantastic. I used one as a vocal live mic - not so good. Had problems with plosives and too muddy a low end; an SM58 does better for that use. But it worked well on an amp. I tried the tube mic on my guitar and so far it is impressive. Don't have many hours with them, though. The MSH mics are no-brainers as far as I can see. Line up and grab a few...
Just picked up a handful of MSH mics (2 pairs - omni, wide cardioid and an omni tube mic). So far I've used the MSH as drum overheads on live gigs - fantastic. I used one as a vocal live mic - not so good. Had problems with plosives and too muddy a low end; an SM58 does better for that use. But it worked well on an amp. I tried the tube mic on my guitar and so far it is impressive. Don't have many hours with them, though. The MSH mics are no-brainers as far as I can see. Line up and grab a few...
M
macmoondoggie
New member
Kevin DeSchwazi said:
Kevin- bought a set of MXL 993's from MF about a year ago. They sound very good on acoustic instruments. I was wondering what the difference is between them and the 603s you use.
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Kevin Deschwazi
Well-known member
I don't know, obviously the 993 has the pad and the HPF but I haven't used it so can't compare the sound. The frequency response charts suggest they'd sound a bit different, the 993 having a much larger hump centred around 10Khz.macmoondoggie said:Kevin- bought a set of MXL 993's from MF about a year ago. They sound very good on acoustic instruments. I was wondering what the difference is between them and the 603s you use.
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macmoondoggie
New member
Kevin DeSchwazi said:
Ok- thanks!
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hairylarry
New member
three mics for stereo
Hi,
When I recorded "For My Dad" I used 2 Realistic 1070b mics right on the neck at the twelfth fret and on the wood behind the bridge. I mean 3 to 6 inches close. Then I put a cardiod condensor over my shoulder. I used an MXL 603 with great results until I got my Audio Technica Pro37 which seemed to have more detail in the highs. Still I'm not sure that I could pick out the Pro37 tracks from the 603 tracks without looking at my log.
If you don't like Radio Shack the 1070b mics are EV RE50 clones. Other dynamic omnis to consider are the Shure SM61 and SM63. I have the SM61s and I think the SM63s are the next model of the same mic. If you can afford them the EV RE155s are supposed to be great omnis.
When I recorded "The Gift" I was shooting video at the same time so I used 2 msh-1o mics on my Jecklin disc. Those recordings came out great too. I tried using a third mic on these sessions but they didn't add to the sound.
I was playing my Sigma on both of these projects.
A pair of dynamic omnis can also be used for recording many things. I find them to be the most reliable field recording setup and almost always start with a spaced pair of omnis and often never have to add anything to that. In a recent Tape-Op magazine they had an interview with David Lewiston who did field recording all over the world and you can see him holding an EV RE50 in the pictures.
That said when I recorded "Hairy Larry and Rhode Island Red Live at Bunky's Breakfast" the omnis had way to much room noise in them and the Superlux cardiod condenser right in front of the stage saved my butt.
Thanks,
Hairy Larry
Cross posted at MixRemix.
Hi,
When I recorded "For My Dad" I used 2 Realistic 1070b mics right on the neck at the twelfth fret and on the wood behind the bridge. I mean 3 to 6 inches close. Then I put a cardiod condensor over my shoulder. I used an MXL 603 with great results until I got my Audio Technica Pro37 which seemed to have more detail in the highs. Still I'm not sure that I could pick out the Pro37 tracks from the 603 tracks without looking at my log.
If you don't like Radio Shack the 1070b mics are EV RE50 clones. Other dynamic omnis to consider are the Shure SM61 and SM63. I have the SM61s and I think the SM63s are the next model of the same mic. If you can afford them the EV RE155s are supposed to be great omnis.
When I recorded "The Gift" I was shooting video at the same time so I used 2 msh-1o mics on my Jecklin disc. Those recordings came out great too. I tried using a third mic on these sessions but they didn't add to the sound.
I was playing my Sigma on both of these projects.
A pair of dynamic omnis can also be used for recording many things. I find them to be the most reliable field recording setup and almost always start with a spaced pair of omnis and often never have to add anything to that. In a recent Tape-Op magazine they had an interview with David Lewiston who did field recording all over the world and you can see him holding an EV RE50 in the pictures.
That said when I recorded "Hairy Larry and Rhode Island Red Live at Bunky's Breakfast" the omnis had way to much room noise in them and the Superlux cardiod condenser right in front of the stage saved my butt.
Thanks,
Hairy Larry
Cross posted at MixRemix.
T
travelin travis
New member
Kevin DeSchwazi said:That would be the Plus CW Cedar. I don't think they make that specific model anymore but the current S6 cedar looks mightily similar in construction and materials.
http://www.seagullguitars.com/productoriginal.htm
I put a couple of clips here , the stereo (XY) clip is just a part of a song I've been trying to write today. Then I just flipped one mic away and recorded a few bars of an Iron and Wine tune in mono.
Usual caveats apply, poor sounding room, I'm crap etc.but it might give you an idea.
I like the the S6 cedar quite a bit. It sounds nice, plays nice, has a good mellow character to it's sound, and it doesn't cost an arm and a leg. One thing I noticed in your clips is that the guitar doesn't sound boomy at all. Were those clips eq'ed any? I ask because I've never recorded with a seagull guitar but i do know that the 603's can be boomy. How light are the strings you're using?
Thanks for posting the clips. Btw, you're playing isn't crap man, sounds nice.
Kevin Deschwazi
Well-known member
Those clips are totally naked, no processing at all. The strings are 12s (D’addario phosphor Bronze) and are prolly about 2 weeks old. The preamps are JLM baby animals.
The mic position is out of the book really, around the twelfth fret, about 6 inches away but the mic is placed quite low, looking up at the guitar if you see what I mean, so it captures the upper strings a little more. When I’m looking for the mic position I tend to start off with boomy and then just move it towards the nut until the low end is right.
I haven’t used loads of mics on acoustic but I’ve used a few and I don’t regard the 603s as being excessively boomy.
I really, really like the Godin acoustics (Seagull, Simon & Patrick and Art & Lutherie as you probably know). I also have a little nylon string parlour guitar (sort of a folk/classical hybrid) made by A&L. A friend of mine works in a vintage and rare guitar shop surrounded by old Martins and Gibsons worth 1000s and his main guitar is a cedar top Simon and Patrick. Great guitars, very fairly priced.
The mic position is out of the book really, around the twelfth fret, about 6 inches away but the mic is placed quite low, looking up at the guitar if you see what I mean, so it captures the upper strings a little more. When I’m looking for the mic position I tend to start off with boomy and then just move it towards the nut until the low end is right.
I haven’t used loads of mics on acoustic but I’ve used a few and I don’t regard the 603s as being excessively boomy.
I really, really like the Godin acoustics (Seagull, Simon & Patrick and Art & Lutherie as you probably know). I also have a little nylon string parlour guitar (sort of a folk/classical hybrid) made by A&L. A friend of mine works in a vintage and rare guitar shop surrounded by old Martins and Gibsons worth 1000s and his main guitar is a cedar top Simon and Patrick. Great guitars, very fairly priced.
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Dogman
Unkle Ticklefingers
Thanks Slidey...I was really surprised at how good just 2 overheads sounded in a small room...especially since I don't even know how to play yet....slidey said:
With a little compression, they don't sound bad at all.
rayc
retroreprobate
Hello Guitarman Gorty,
You haven't been visiting with Brian Bourke I hope!
MSH -1, or MSH-2
a pair set up nicely will give a VERY good result. Listen to Timothy's sample on the Naiant site.
Oh, & VERY cheap too - need a good pre though.
You haven't been visiting with Brian Bourke I hope!
MSH -1, or MSH-2
a pair set up nicely will give a VERY good result. Listen to Timothy's sample on the Naiant site.
Oh, & VERY cheap too - need a good pre though.
ausrock
Well-known member
Gawd RayC, you had to bring politics into it, didn't you
Gorty,
If you were using Matons, I'd probably be more qualified to comment, but as you're not.......I won't.
Gorty,
If you were using Matons, I'd probably be more qualified to comment, but as you're not.......I won't.
TelePaul
J to the R O C
rayc said:
How good a pre?
Dogman
Unkle Ticklefingers
I use a DMP3 and it sounds just fine...and has 2 channels so I can use 2 mics really easily.TelePaul said:How good a pre?
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hairylarry
New member
Dmp2
Hi,
I use the DMP2s with everything including dynamics. They work great with MSH-1O mics. Hard to find but a little cheaper than DMP3s. Supposedly similar except they use leds instead of VU meters. I don't have any trouble with the leds.
They're good for instrument inputs too.
Thanks,
Hairy Larry
Hi,
I use the DMP2s with everything including dynamics. They work great with MSH-1O mics. Hard to find but a little cheaper than DMP3s. Supposedly similar except they use leds instead of VU meters. I don't have any trouble with the leds.
They're good for instrument inputs too.
Thanks,
Hairy Larry
rayc
retroreprobate
Tele,
I don't have a good pre (just a behri) & get a great sound but I've heard what Tim Lawler did with good pres & it's a quantum leap. So the better the pre the better the result I guess. But as said a cheap behri did an OK job & the MH's sounded great.
I don't have a good pre (just a behri) & get a great sound but I've heard what Tim Lawler did with good pres & it's a quantum leap. So the better the pre the better the result I guess. But as said a cheap behri did an OK job & the MH's sounded great.
TelePaul
J to the R O C
rayc said:
Thanks a mil Ray! I guess a good pre is always a nice thing to have, but I hope the old Tascam's stock pres do okay.
junplugged
Taking the slow road
depends on what i want, i've used ecm8000 at soundhole or a foot out, mxl991/603 x/y or spaced or one at nut, sp b3 cardio distant or close omni, mxl 960 3 feet over top, sometimes i even compress and crank up the gain