hawk
New member
Which of these would work better for classical guitar? Also, what's the difference between the C1 and B1?
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Strave
New member
603 would be better for acoustic guitar i believe in general. I have both and always use the 603
X
XLR
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I've used the 603 and it's a good mic if the guitarist is getting a mellow tone. Otherwise it magnifies any brittle qualities in the gtr, technique or room. And it's a wide cardioid so harsh qualities of the room REALLY get accentuated. Used in just the right situation it can sound gorgeous.
Tim
Tim
thajeremy
registered abuser
I just generally like an SDC over a LDC on accoustic guitar. It seems to pick up those highs so much better. About 2 weeks ago, I tracked an accoustic with a JM27(similar to a 603), a B1 and an AKG C2000...seems like we tried my AT3035 as well. The JM27 sounded better all the way.
Chris Shaeffer
Peavey ROCKS!!!!!!!!!!!!!
Another vote for the 603. Preferably 2 of them.
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sdelsolray
Active member
How about neither? If you're trying to find a $100-200 mic to record classical guitar, try the SP B-1 or CAD M179.
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sloop
Active member
603's!!
I would use the 603's but either do this modification or have it done. It tames down the brittle high end and makes them a very nice microphone.
http://www.3daudioinc.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=1&t=001142
I would use the 603's but either do this modification or have it done. It tames down the brittle high end and makes them a very nice microphone.
http://www.3daudioinc.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=1&t=001142
Wireneck
New member
Who is offering the mod? Just curious my soldering skills aren't the greatest
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Dot
New member
I think the C1 is a poor choice as an acoustic guitar mic. The 603's are decent enough for the money. I'd easily pick a 603 over the C1 for acoustic. I'd agree with sdelsolray on the B1's.
what's the difference between the C1 and B1?
The C1 is very colored and very bright – works well on many vocals. The B1 is more neutral and not as bright and is a much better instrument mic and a better all-around "workhorse" mic on many applications.
what's the difference between the C1 and B1?
The C1 is very colored and very bright – works well on many vocals. The B1 is more neutral and not as bright and is a much better instrument mic and a better all-around "workhorse" mic on many applications.
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Nakatira
That Norwegian Bastard
I think B1 is exelent on acoustic guitar, fat tone.
I`ve just oredered the 603`s so I`ll soon get a chance to compare.
I`ve just oredered the 603`s so I`ll soon get a chance to compare.
ljmaxx
Hurricane Offender
hawk said:
You're asking about classical and not acoustic guitar so the C1 and the 603 are not the best choice IMHO. The 603 does a good job on most acoustic's but doesn't seem to do as well on classical. The C1 seems to do much better than acoustic guitars to my ears but I've never tried it on classical.
I've had success with an AT4033 on classical as well as the KSM44 in omni mode but you need a decent room for omni. The best mic I've used on classical is the earthworks QTC1 but if your budget is not in that range take a look at the Earthworks SRO. Here's the link for Earthworks. Good luck.
www.earthworksaudio.com
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jgld
New member
I use an mlx 603 for clasical guitar. dont have experience with other mikes to compare. my friend sounded bad when i recorded her playing but she uses her fingernails. its like it got too much of the naily sound of teh pluck. I dont use nails and the tone sounds OK but i cant play anthing good anyway so who knows.
j
j
hawk
New member
From what I've read from here and other places, the C1 is not a good choice for me. But, the SP B1 might be. I might want to use this mic for steel string and vocals later in addition to classical, so would the SP B1 be a better all-around mic than the 603? Thanks again...
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Dot
New member
hawk said:
Yes, for "all-around". The B1 is definitely a better all-around mic than the 603. Although it may or may not be the best mic on your vocals. But the B1 will at least work very well on just about any other application you could throw at it.
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mrface2112
Well-known member
Dot (as usual) speaks good wisdom here. The B1 is an excellent all-around mic.
Tim Lawler spoke good wisdom too--the 603's are VERY nice on a mellow sounding guitar. they are not so good on a guitar with a harsh high-end (like most cheap/plywood/import guitars).
in my experience, i liked the B1 on my martin d15 (all mahogany, mellow sounding guitar). then i got the 603's and was really, really impressed at the improvement in sound. it really sounds "larger than life" now. on my buddy's Martin HD28V, though, the B1 is a much better fit.
so really, it depends on the guitar (as well as the player, room, etc). no one can give you a valid recommendation without having heard the guitar in the room, played by the player. however, like Dot said, you can't go wrong with the B1 as an "all around entry level mic" when it comes to recording acoustic guitar. it might not be the best mic for the job, but it'll get the job done.
and as with any mic, please plan to spend some time working on placement. i wonder how many times "_X_ mic sucks" posts are really "i didn't bother spending several hours working on finding the right placement".
cheers,
wade
Tim Lawler spoke good wisdom too--the 603's are VERY nice on a mellow sounding guitar. they are not so good on a guitar with a harsh high-end (like most cheap/plywood/import guitars).
in my experience, i liked the B1 on my martin d15 (all mahogany, mellow sounding guitar). then i got the 603's and was really, really impressed at the improvement in sound. it really sounds "larger than life" now. on my buddy's Martin HD28V, though, the B1 is a much better fit.
so really, it depends on the guitar (as well as the player, room, etc). no one can give you a valid recommendation without having heard the guitar in the room, played by the player. however, like Dot said, you can't go wrong with the B1 as an "all around entry level mic" when it comes to recording acoustic guitar. it might not be the best mic for the job, but it'll get the job done.
and as with any mic, please plan to spend some time working on placement. i wonder how many times "_X_ mic sucks" posts are really "i didn't bother spending several hours working on finding the right placement".
cheers,
wade
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XLR
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mrface2112 said:
Tim
This is often said but too often ignored. Know what we need? ... an "I accept" check box that you have to click each time you enter the mic forum that says "I have read and understand the above."
Tim
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nkjanssen
New member
mrface2112 said:
I don't care what mic it is, if you have to spend several hours working on placement, it ain't the right mic for what you're doing.
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XLR
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For an experienced person that may be true but I think this issue mainly effects beginners. I think they're the ones that fall into the "this mic sucks" trap most easily. And for a beginner maybe several hours to discover where the mic will work on their guitar or voice, where they should sit in the room, which room to use, etc. isn't unreasonable.
Tim
hawk
New member
I don't know about the rest of you but, minutes turn into hours quickly when experimenting with recording. Room preparation, mic placement, getting the right sounds from your instrument, getting good takes, editing, blah, blah. Spending "several hours," sounds about right to me.
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Harvey Gerst
New member
Most new recordists just start putting up mics (where they "think" it will sound good, or where they've read that a mic "should go").
Most of the good engineers (that I know of anyway) will have the musician play for a bit while the engineer walks around the room, listening for "sweet spots". If you know the sound of the mics you own, and you find the "sweet spot" for that instrument, mic choice and placement become pretty easy.
My advice to new recordists is "Listen, first". Then, you try to figure out what you're hearing and where to go from there.
Every session is different, every song is different, every musician is different, even if they're playing on your studio equipment. Listen, listen, listen.
"The song will tell you what it wants" - if you'll only listen.
It's not about C1's, or 603's, or B1's, or LDC's vs. SDC's - it's about what's right for a particular situation.
Most of the good engineers (that I know of anyway) will have the musician play for a bit while the engineer walks around the room, listening for "sweet spots". If you know the sound of the mics you own, and you find the "sweet spot" for that instrument, mic choice and placement become pretty easy.
My advice to new recordists is "Listen, first". Then, you try to figure out what you're hearing and where to go from there.
Every session is different, every song is different, every musician is different, even if they're playing on your studio equipment. Listen, listen, listen.
"The song will tell you what it wants" - if you'll only listen.
It's not about C1's, or 603's, or B1's, or LDC's vs. SDC's - it's about what's right for a particular situation.