Samson mics. (r-11)

[Proveras]

Hi.
does anybody have something to say about
SAMSON mics?

i have 7 R-11 mics, they are hyper-cardio-dynamics, and I'm planing to record all instruments with them.

what can you tell me about this?

 

[James HE]

Experiment with taking the "ball" windscreen off for some things. I somtimes like my ATM 41-HE with the screen off micing my guitar amp better than a 57 (not often but once actually). Don't use all seven of them for the same thing . I guess you paid like $125 for all seven- not to bad of a deal. You will get better ones later and say- "Why the hell do I have so many of these??"

And I'll throw this out to see if anyone disagrees: Any mic with an on/off switch sucks.

-jhe

 

[kristian]

any mic with an on/off switch sucks... doesnt mean i dont own any =)

 

[DaveO]

My C1000S has an on/off switch and all this time I thought it was *my playing* that sucked! It was the mic all along!

 

[James HE]

Well I guess the c-1000 is the exception!
It just generally seems that all the cheap dynimics have on/off switches and the more expensive ones don't, which is kinda strange when you think about it.

-jhe

 

[DaveO]

Damn, there goes my excuse! Oh well, guess I gotta keep practicing.

 

[Dom Franco]

In general;

Semi-pro Dynamic "performance" mics have a switch so that a gigging musician in a club setting, can control feed-back and shut off un-used mics.

Most professional level dynamics dont have a switch, because it is assumed that a sound technician will be running the pA system.

Dom Franco

 

[Proveras]

what about micing all the drums with the same mics?
MAYBE use the same frecuence of the same mics can help, and then work with the EQ.
what do you think about it?
Can "it" works?

 

[James HE]

It'll be fine man just use your ears and do what feels right. The first demo I ever recorded I used two cheap V-tech mics, a radio shack mic, a Cable up mic (I actually kinda dug this one till It broke a year later)and an ATM 41HE (a very good dynamic actually). Those recordings sound like crap mostly because I didn't know what I was doing- not because of the gear. The next time was a little better with a little better gear, and that pattern has continued.

The Samsons that you have have neodynium elements in them which generally (and I am generalizing here cause I havent heard all of them and never your particular mic) means more power and can have a tighter polar pattern, and it's not going to have that flat of a response. The ATM 41-HE has that element and to me it's one of the warmest dynamic mics I've ever heard. I'd pick it to record a vocal with over a 58 or 57 most times, but live I gotta have the 57!

The best that any of us can do is to use what we have to the best of our abilities and somtimes when we think our equpment is crap it surprises us and delivers what it should. If the performance is good, then it will override the rest!

-jhe

 

[dinky yo]

A friend and pro engineer passed on this advice (sorry if you've heard it before)

something like:
There's no such thing as a bad mic.
It's what you use it for and where you
place it that makes a mic work or not.

This after he recorded drums about ten feet away with a lil mic he ripped out of an old answering machine (!) And MAN when he mixed it in did they sound cool.

 

[JONRAVEN]

hey there,
Havent you guys ever heard that you can get on/off switches as an option for a 58? A lot of condensers have them too...to save power if they have a battery. Also I agree with Dinky yo that it doesn't matter what kind of mic you use as long as you can be creative and know atleast enough about mic placment and be familier with what the rest of your equipment is capable of in order to come up with a sound that makes your ears go "Yes... that's it!" Anyway hope I have helped someone out there!