Supercreep
Lizard People
Four of 'em on the way. I want to try these on toms.
L
LDT2
LDT2
Supercreep,
Please let us know how they compare to, say, SM57's as far as the low end response and separation. I've had the same thoughts about using them on drums, but my drummer has an 8 piece kit, so if they work I need to order quite a few.
Thanks,
Lucio
Please let us know how they compare to, say, SM57's as far as the low end response and separation. I've had the same thoughts about using them on drums, but my drummer has an 8 piece kit, so if they work I need to order quite a few.
Thanks,
Lucio
kid klash
The original Mr. Nice Guy
Say what? Honest... I'm serious!
I'm considering ordering a pair too, but for kind of an odd application.
One of the bands I'm in does all 60's music, and the keyboard player uses a nice Yamaha digital grand, and an old analog Conn organ. The Conn has a main channel speaker and a Leslie speaker built into the cabinet, and it actually sounds pretty damn good on those songs (House of the Rising Sun, Gimme Some Lovin, Light My Fire, etc.), but it's a real pain in the ass to mic it through the PA.
So I'm thinking about mounting a pair of condensers (two Msh1-c?) inside the cabinet; one aimed at the main channel speaker cone, and the other aimed at the Leslie speaker drum.
I'll flip the polarity on the main channel woofer, and run the two mic outputs through two pieces of high quality mic cable to a pair of XLR connectors mounted on a metal plate, screwed to the side of the cabinet. Then we'll connect those mic outputs to the snake and run them to the board for phantom voltage a nwe've got a stereo feed for the front end and monitors.
To prevent feedback, he's building a 2" deep flat panel chamber to attach to the kneeboard, over the main and Leslie speaker cutouts, to allow the cones to move but to keep the sound confined to the inside of the organ cabinet. The thin pegboard back was replaced too, by a 3/4" plywood panel, to seal up the back (it has the band's logo painted on it too... hehehe ).
In essence, the back of the main channel woofer becomes the front, and visa versa. The Leslie spins sideways in the cabinet, next to the main channel speaker.
I'm thinking this might be a good application for a pair of Msh1-c's. Got any shock mounts for those babies?
I'm considering ordering a pair too, but for kind of an odd application.
One of the bands I'm in does all 60's music, and the keyboard player uses a nice Yamaha digital grand, and an old analog Conn organ. The Conn has a main channel speaker and a Leslie speaker built into the cabinet, and it actually sounds pretty damn good on those songs (House of the Rising Sun, Gimme Some Lovin, Light My Fire, etc.), but it's a real pain in the ass to mic it through the PA.
So I'm thinking about mounting a pair of condensers (two Msh1-c?) inside the cabinet; one aimed at the main channel speaker cone, and the other aimed at the Leslie speaker drum.
I'll flip the polarity on the main channel woofer, and run the two mic outputs through two pieces of high quality mic cable to a pair of XLR connectors mounted on a metal plate, screwed to the side of the cabinet. Then we'll connect those mic outputs to the snake and run them to the board for phantom voltage a nwe've got a stereo feed for the front end and monitors.
To prevent feedback, he's building a 2" deep flat panel chamber to attach to the kneeboard, over the main and Leslie speaker cutouts, to allow the cones to move but to keep the sound confined to the inside of the organ cabinet. The thin pegboard back was replaced too, by a 3/4" plywood panel, to seal up the back (it has the band's logo painted on it too... hehehe ).
In essence, the back of the main channel woofer becomes the front, and visa versa. The Leslie spins sideways in the cabinet, next to the main channel speaker.
I'm thinking this might be a good application for a pair of Msh1-c's. Got any shock mounts for those babies?
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T
TaperChuck
New member
Very cool. I like hearing about new, innovative ways to mic things.
I used to run sound for a band that had a B3 player with a full Leslie cabinet. We more or less permanently straped a hand truck to that B3 and never took it off, even for performances. This band played three nights/ week. anyone that has tried to move a B3 even once, will appreciate the hand truck suggestion for a working band.
Anyway, I was never happy with the way we miced that Lesiie cabinet in bars. Part of the problem was that the board I had at the time only had 16 channels, so instead of using three channels like I would have liked, I had to figure out a way to use only one channel to mic it. I ended up using two SM57's wired with a special cable I made in series. One 57 on the top, and the other on the bottom. I learned that trick from a book I read By Bruce Bartlett.
Let us know how the MSH-1O's work.
Chuck
I used to run sound for a band that had a B3 player with a full Leslie cabinet. We more or less permanently straped a hand truck to that B3 and never took it off, even for performances. This band played three nights/ week. anyone that has tried to move a B3 even once, will appreciate the hand truck suggestion for a working band.
Anyway, I was never happy with the way we miced that Lesiie cabinet in bars. Part of the problem was that the board I had at the time only had 16 channels, so instead of using three channels like I would have liked, I had to figure out a way to use only one channel to mic it. I ended up using two SM57's wired with a special cable I made in series. One 57 on the top, and the other on the bottom. I learned that trick from a book I read By Bruce Bartlett.
Let us know how the MSH-1O's work.
Chuck
mshilarious
Banned
kid klash said:I'm thinking this might be a good application for a pair of Msh1-c's. Got any shock mounts for those babies?
Hmm. Well, honestly that is well outside my experience. I would probably try an omni first, just to avoid off-axis weirdness/proximity effect. I don't imagine feedback would be a problem if they were inside the cabinet.
For shockmounts, try these (this is not me!):
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3746209911
P
Paj
Well-known member
kid klash said:
Try:
http://www.superlux.us/smalldiaphragm.html
The HM30 & HM32 will both fit the mic if it's the same size as the MSH1-O. You can even snug up the HM32 further by rearranging the banding on the diagonal (or adding the provided spares on the diagonal).
The MSH4 is the smallest of the bunch and the HM32 also works fine with it.
An MXL-41 shock mount also works well.
Paj
8^)
P.S.: I received my MSH1-O and MSH4 mics last week and I have only had a chance to try out the MSH4. Unfortunately, it was a noisy environment at the time, so the track picked up a dehumidifier (about 20 feet away), a computer fan (about 15 feet away), and probably some internal operating noise from the HD SIAB they were plugged directly into---but my initial impressions were that the guitar I tracked sounded smooth, it sounded like I was hearing it as I was playing it (without headphones), and it had an OctavaMC012-like quality to it. It even seems to be decent on vocals. I haven't been able to evaluate the self-noise factor yet. It ran for a few hours, including the half-hour warm-up, and heat doesn't appear to be a concern.
kid klash
The original Mr. Nice Guy
mshilarious said:
So you'd recommend the MSH-10 instead of the MSH-1c for this application?
The reason for covering the kneeboard with a stiff "air chamber", as well as replacing the original back panel with a 3/4" panel is to not only isolate the sound, but to keep the rear panel and kneeboard from resonating at various frequencies, which eliminates much of the feedback problems. Think of the organ cabinet as a giant acoustic guitar body with a pickup... doing the air chamber and solid back is like putting a cover on the sound hole of an electric/acoustic guitar to prevent feedback.
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