I am surprised that you did not talk about the frequency and transient response of different mics which ultimately affect the sound of the mic. In my experience, the SM 58 has decent frequency response but poor transient response which ends up making voices sound unexciting. I have been much happier with the EV 747 and AKG 1000 mics… which is about three to five times the cost of the SM 58 but add distinction and clarity to the vocals. Regarding micing the bass, it seems to be that the SM 58 also only adequate for bass if the bass player is not snapping/slapping the strings for the funk grove or sound. Am I to imply that you do not recommend using the direct line out from a preamp which is great way of reducing stage feedback? Do you prefer hearing the sound of the cabinet and if so, why not mic it too?
Micing acoustic guitars is tricky business as you mention. Again I would ask why not use a preamp or line out. Also with any ceramic pick up, there is a 3 to 6 dB bump at about 8K Hz to 10K Hz and the transients are scattered at best because the pickups not only pick up the vibration of the strings but also the vibration of the box. For recording, people use their pickups in combination with three mics; one near the sound hole, one aimed at the bottom of the guitar (where the strap would attach) and one aimed at the head.
However this is completely impractical for a stage performance. I have experimented in in-hole mics but they don’t pick up the string action. I currently use a magnet bonded on the inside of the guitar face and a pickup coil that is located near by and a lot of electronics. It sounds great but feedbacks easily in the low frequency. I am doing some research and the LR Baggs two pickup and preamp looks pretty good. But I have not made the commitment to spend the $700 for the combination.
With respect to condenser mic, I think that it is important to remind people that there is a 3 to 6 dB bump at 10K Hz to 12K Hz that should be eq’ed out for the most flat and natural sound.
Also, I think your comment about transient response is more related to diafram size rather than differences in dynamic or condenser styles. Since most condenser mics used on stage are small (.3 inches or so), your comment that they offer better transient performance stands but only (I think) because the diaphrams are smaller but not because there is an inherent value in design. If you take a 1” dynamic and a 1” condenser, both will have similar transient performance but different tonal properties.
At least these have been my experiences and can be totally amiss. I would like to hear your comments.
Submitted by: John A. White
Location: Orange, CA
Date Added: 2002-04-29
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