senneheiers e609 mic - i cant find a thing i like it for....

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I'm Painting Again
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Post by I'm Painting Again » Sat May 27, 2017 10:22 am

just bought another two of these (e609 silver)

I found they work really well on my 10-12-14 tom toms in the right configuration / style

these are hard to place correctly but when they are positioned correctly they should give you a decent sound in most and a great sound in the right situations

you have to be fairly close in to match their proximity effect with the upper mid boost

if you pull em farther out they aren't balanced

they will work best as traditional close boost mics when you're OH mic(s) are getting the size of (and all the toms evenly) coupled with the OH mic being detailed enough (tube capacitor or nicer ribbon) / fills in the mid scoop once positioned correctly -- for heavy playing where the OH are primarily cymbal mics you'd prob do better with mk012 or something that brings more detail and also is not scooped in the mids

I shot out 57s and EVs ..i have 421's.. i did not want to buy more of these .. so so so didn't want to buy them but after careful listening they just were the best candidate at the cheapest price

I notice that they sorta have a natural gating effect to them - they seem to shorten the sustain - weird / cool - they are really good at not getting bleed and their weight and side address is quite nice to work with in cramped kit configurations

at first you think other mics sound better because they are thicker sounding or more present in certain bands - great in solo or in very sparse arrangements - true maybe - but the e 609 silver seem to take a lot of "junk" out for me they way i use them they sound "tight" and i really like it

yup they are a fairly wacky sounding mic but used in a way that takes advantage of that sound can be quite rewarding..

really digging them on my toms

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Post by Gregg Juke » Sat May 27, 2017 10:34 am

Hey Paint-- Would you describe (or better yet, post a picture of) how you position the 609 on a drum? I'm thinking that could be so "in the way," and also easy to take a chunk out of with a stick.

How do you do it?

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Post by vvv » Sat May 27, 2017 11:33 am

I like 'em on amps.
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Post by I'm Painting Again » Sat May 27, 2017 11:58 am

sorta upside down and sideways !

just ordered some telefunken rim mounts ($11)

they are kinda like those K&M ones but seem better and are cheaper

http://store.t-funk.com/p/m-784-metal-m ... ount?pp=24

maybe I can free up some stands


bottom head is no problem obvs but ya there is a risk on the batter side especially if you want them flat over the head and more in - bigger issue on the 10" than others

that's a definite problem

DIYing a crashguard might be a solution

here's the general placement which also would minimize ( at least in my mind) a stick impact

http://agatha-christie-fanclub.tumblr.c ... -like-this

in the pic it's really looking over the head and that's not exactly how it should be..the tilt / sweep of its hypercardioid pattern frrom rim to center needs to be adjusted for best sound - somewhere in 5-10 cm off the head ought to be where it balances the upper range boost

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Post by Gregg Juke » Sat May 27, 2017 12:30 pm

Thanks for posting that. "Natural gating feature," huh? I'm going to have to give that a try.

I have used them on piano and other live acoustic sessions where I didn't want to deal with phantom power, so yeah, they are good for much more than close miking guitar amps and "not being an SM 57."

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Post by I'm Painting Again » Mon May 29, 2017 8:55 pm

I'm thinking the hyper C pattern might be part of the fact it does not pick up as much sustain as other mics in this application?

I dunno but it might explain at least partially the tight overall sound

was looking at comparisons to the 409 - much more natural response curve but a similar tone

Yet to try but I feel like a little EQ (the right 1k boost) you can get close to the 409 with the 609 silver

409 for 4.5 to 5 times less ?? Maybe I'm hoping too much

:cry:

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Post by vvv » Tue May 30, 2017 4:12 am

Not anymore than all the Chinese LDC buyers.

Then there's the black Rat Shack EQ ...


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Post by I'm Painting Again » Tue May 30, 2017 6:28 am

:lol:

The blackface RSEQ ahh CLASSIC

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Post by permanent hearing damage » Mon Jun 12, 2017 1:26 pm

just chiming in here to say that i also find them boring and never use them. we have a 906 in our mic locker as well, but i haven't liked those much on anything that i can remember either. they see the most use as talkback mics from the live room

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Post by vvv » Mon Jun 12, 2017 1:52 pm

Funny, this past Saturday I was just recording in the bedio with my guitarist, using an E609 and the Superlux version on the guitar amp (HRDX) thru a UA710 and an ISA1, respectively.

We came to a choon where we decided - OK, I decided - to improv the vocal and the only guitar at the same time. I grabbed the E609 into the UA710 for the vocal and was quite pleased with its lo-fiedness, particularly with how it could be overdriven when hollered at.
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Post by I'm Painting Again » Tue Jun 13, 2017 8:19 am

Maybe if people find them boring they can decorate them with paint and rhinestones or something ?

I went through a description of how and why these are useful in a particular situation..lots of engineers have expressed fondness..here..throughout other MB's and social media..fact is people use them because they're relatively inexpensive tools that work wonderfully in many applications.

I do believe that people think they are boring. I do believe people's expressions of displeasure with these. I was of this same opinion for about 15 years since I'd acquired one way back then on a whim. it pretty much sat in the pouch unused for a decade. Not until I pulled it out and spent the time understanding them.. how I could use them.. budgeting..AB testing for the least expensive thing that would work where I needed did i change my mind..

for people that have these:

I've also tried it as a heart/wurst above the front kick hoop pointed at the snare - space echoed and crushed - sounds great

also a pair micing the back walls of your drum room crushed by 1178 / 418a type of limiter - sounds great

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Post by Jitters » Wed Jun 21, 2017 2:17 am

I've had a good result using an e609 as a crotch mic on a drum set. Anybody else ever do a crotch mic? It captures the bottom of the snare and the snap of the beater. I mixed it with a mono overhead. It added a lot of punch to the kit. I overdrove it with a compressor on a few tracks and it gave up some good grittiness. It was what was on hand at the time. You might try a u47 instead.

Edit: I guess a crotch mic is in the same ballpark as a wurst/heart? So yeah, I agree with the Painter.

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Post by I'm Painting Again » Wed Jun 21, 2017 12:55 pm

haha yea wurst/heart = crotch

Does a colour/tone/sound/exciting/boring/good/bad mean anything without context?

It ain't about the gear as much as it's about the way it gets implemented.

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Post by Recycled_Brains » Thu Jun 29, 2017 9:58 am

I dig them in live sound applications and on the bottoms of toms, which I almost never do, but they have good rejection and are easy to orient in that application.

Other than that I've always liked 57s better.
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Post by Magnetic Services » Thu Jun 29, 2017 10:24 pm

I use if often for the top of the snare, because it's so low-profile and can easily sneak in under the hi-hat. Also sometimes for bottom snare, using its hypercardioid pattern to reject the kick.

I never really use it "for the sound". It works fine most of the time but occasionally I do swap it out for a 57.

Seems like it could also work as a handheld harmonica mic?

Or hanging from the ceiling, boxing-announcer style?

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