I just dont understand the hype..
I just dont understand the hype..
Things I don't get:
SM58 - yeah, I get the 57, but the 58 just doesn't do any justice for anything - not even live vocals, still it seems to be the 'industry standard'. It has no feedback rejection, it makes everything dull and lifeless. Grrr!!What am I missing here?
Pro VLA - I own it, and I use it when I run out of channels on my good compressors. It works in a sort of half ass way - it is what it is, but I guess I've never heard that magic that people are always raving about on here.. I can compress the hell out of things yet I still get runaway peaks and it pumps like a three peckered billy goat.
Bose - Well, it's a speaker - it sounds OK.. Emphasis on OK.. GAK!!! GRRR!! Why - why - why??? Must controll anger.. Oh no, it's happening again... Please, make it stop...
SM58 - yeah, I get the 57, but the 58 just doesn't do any justice for anything - not even live vocals, still it seems to be the 'industry standard'. It has no feedback rejection, it makes everything dull and lifeless. Grrr!!What am I missing here?
Pro VLA - I own it, and I use it when I run out of channels on my good compressors. It works in a sort of half ass way - it is what it is, but I guess I've never heard that magic that people are always raving about on here.. I can compress the hell out of things yet I still get runaway peaks and it pumps like a three peckered billy goat.
Bose - Well, it's a speaker - it sounds OK.. Emphasis on OK.. GAK!!! GRRR!! Why - why - why??? Must controll anger.. Oh no, it's happening again... Please, make it stop...
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Re: I just dont understand the hype..
MikeCzech wrote:Things I don't get:
SM58 - yeah, I get the 57, but the 58 just doesn't do any justice for anything - not even live vocals, still it seems to be the 'industry standard'. It has no feedback rejection, it makes everything dull and lifeless. Grrr!!What am I missing here?
Yer getting feedback?? Whats yer set up??
What do you use instead?
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I used to run sound at a club and I would bring my Audix OM5 and OM6 for vocals just because the SM58's at the club were so dull and would feedback. Granted, it was a small stage and placement could have been better, but they'll never learn to keep their faces out of the monitors and quit cupping the mic.
The feedback rejection on my Audix's isn't even funny. You can crank them a whole lot hotter without any problems. Usually I find differences among mics of the same elements and polar patterns to be subtle, but IMHO the difference between any other Dynamic mic and a 58 usually blows the 58 out of the water.
I dunno, you show me a cabinet full of 58's and I'll show you cabinet full of great pot scrubbers.. I bet that grill could probably cut through grease pretty damn good... it certainly doesn't cut through a mx.
The feedback rejection on my Audix's isn't even funny. You can crank them a whole lot hotter without any problems. Usually I find differences among mics of the same elements and polar patterns to be subtle, but IMHO the difference between any other Dynamic mic and a 58 usually blows the 58 out of the water.
I dunno, you show me a cabinet full of 58's and I'll show you cabinet full of great pot scrubbers.. I bet that grill could probably cut through grease pretty damn good... it certainly doesn't cut through a mx.
Re: I just dont understand the hype..
That was gratuitous, crude, probably un-necessary, and certainly funny as hell.MikeCzech wrote:...and it pumps like a three peckered billy goat.
Hmm.. It's worth a shot, thanks Kenny.. Is it worth the extra 5 beans to get the JP's best, or do the standard tubes do just as well?KennyLusk wrote:Mike, on your pro vla I'd recommend rolling in a pair of JAN Philips 12AT7WC's. They should make a world of difference over the stock, russian made, EHX tubes that come with it.
There's a little mojo in there with the JAN Philips tubes.
Also, not to hijack, but I have a really hard time controlling dynamics on a K2 Rode tube mic, I don't know what it is. I usually have to use 2 good comps in the chain to tame it. You think a different tube could smooth it out at all? The problem lies mostly in the transients and sibilance.
They are similar but the freq response is different. I just learned on another thread that the tape I put around my 57's to keep that cheap plastic top from rattling, changes to shape, but I'd say they're totally different mics - the 57 works for anything, the 58 hasn't yet worked for me at all..honkyjonk wrote: 57 yay?
58 nay?
Well... I take that back, the 58 worked when it was the only mic knew.
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No single microphone works for every vocalist.
I was in a band with two singers, male and female, both using '58s. The female singer wasn't happy with the '58 so I got her an 835 which sounded much better.
The '58 is best when sung straight on axis, but if you wander to the side you'll run into its rejection axis. The female singer's technique would sing off-axis on the '58 for dramatic visual effect but lose her signal when she went into the rejection axis. The 835 was a better mic for her style voice wise and technique wise.
I was in a band with two singers, male and female, both using '58s. The female singer wasn't happy with the '58 so I got her an 835 which sounded much better.
The '58 is best when sung straight on axis, but if you wander to the side you'll run into its rejection axis. The female singer's technique would sing off-axis on the '58 for dramatic visual effect but lose her signal when she went into the rejection axis. The 835 was a better mic for her style voice wise and technique wise.
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IMO the xtra $5 does in fact get them to send you their best. Sounds like you're ordering from thetubestore.com or someone that really pays attention to what they're doing. But I have had excellent luck on ebay too. JAN Philips are very tightly spec'd to begin with anyway.MikeCzech wrote:
Hmm.. It's worth a shot, thanks Kenny.. Is it worth the extra 5 beans to get the JP's best, or do the standard tubes do just as well?
Also, not to hijack, but I have a really hard time controlling dynamics on a K2 Rode tube mic, I don't know what it is. I usually have to use 2 good comps in the chain to tame it. You think a different tube could smooth it out at all? The problem lies mostly in the transients and sibilance.
.
Sibilance is common in the Rode mics IME but can be tamed dramatically in your tube pre by using lower gain tubes like 12AU7's or 12AY7's. Preferably 12AU7's and preferably NOS American tubes like GE's or RCA's. The key though is stepping down to an AU7 tube IMO.
Some people argue this point, but I like what tube dampers have done for my vocal stuff as well. But that's just icing on the cake. Most guys don't use them.
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