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Post by andy on Jan 15, 2009 10:48:12 GMT -5
I know that the Shure SM57 is pretty much the dynamic mic as far as snare drum mic'ing is concerned, but I am hoping to double up a live vocal mic as a snare mic for recording- the Shure PG58 in fact. It is much the same as an SM58, but cheaper, and with a little more low end roll off, which is good for both my dulcit tones and for snare in my opinion.
I'm just wondering if anyone out there has any experience of a 58 of any sort on a snare, particularly in comparison to the 57?
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Post by ashcatlt on Jan 15, 2009 14:34:17 GMT -5
Shure, why not?
I stopped close miking drums many years ago. I can't say for shure that I ever used either of these mics on snare. There must have been a 57 or two at some of the live shows, I guess. I have used a Green Bullet for a top snare mic. That's my favorite sound ever!
I do know that I've used 58s on guitars a few times, with perfectly acceptable results. As I understand it the only difference between the 57 and 58 (SM anyway) is the windscreen design. Don't they use the exact same capsule? The 57 is easier to get into tight spots, and can be placed a touch closer to a speaker cone or drum head, whereas the 58 forces a vocalist to keep the diaphram a little further from his gaping orifice. I've always considered them to be interchangeable.
I did a quick google search and found somebody claiming that the 58 is less directional, which would cause issues with bleed from other drums if it were true. It's not though.
Aside from offering a bigger target for the flingin' drummer to hit, I figure a 58 will suck just as bad as a 57. ;D (ask albini about that one)
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Post by JohnH on Jan 15, 2009 16:01:05 GMT -5
I don't know about miking drums, but the PG series are good - I use a PG57 for vocals, amps and acoustics and it seems fine. Also, they are built strongly and apparenetly pass the same drop tests as the SM's. The PG57 has more of a bulb-shaped head on it than the SM57. John
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Post by gfxbss on Jan 16, 2009 5:56:09 GMT -5
I am not familiar w/ the PG series, but if it is much like an SM 25 w/ more low end roll off then it should be a great snare mic.
The SM57 and SM58 do have the same capsule and therefore one could not me more directional than the other. There may be some differences from mic to mic, but they are both using standard cardioid patterns.
Tyler
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Post by andy on Jan 16, 2009 9:07:04 GMT -5
Thanks guys, thats all good to know. Ash, if you don't close mic at all, how are you approaching the kit? My aim is to use two overhead condensers to create the main 'picture', then use a dynamic in the kick to bring out the bottom end, and the Shure to add some extra body to the snare where needed. I like the simplicity of this approach, and have found it gives quite a natural sound. I've only done it using other peoples mics, though. And with the similarity between the 58's and 57's, does anyone suppose that removing the guard from a 58 is tantamount to turning it into a 57?
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Post by ashcatlt on Jan 16, 2009 18:20:32 GMT -5
I'm afraid that a drunken monkey wacking your capsule with a stick might void the warranty. I'd expect that removing the fast and bulbous part would create a slight increase in those higher frequencies which get absorbed and/or diffused while passing through that little bit of foam. Not sure that this wouldn't just be psychosomatic, though. To be honest, andy, I haven't had the misfortune of miking a drumkit in quite a while. I vowed long ago that I never use more than 3 mikes again. If you count my AT stereo condenser as just 1, then I'm down to 2. If I decide to use a "sub kick" rather than a dynamic inside the kick, well that's not really a mic is it? So I'm down to just 1 mic. I think what you're talking about is reasonable. All of this requires that neither the room nor the fargin' drummer suck too bad, though. I figure if I ever need more control over the individual drums I'll save time and headaches using triggers.
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Post by andy on Jan 16, 2009 21:25:23 GMT -5
Yep, I hear you on all those points. I might consider pulling the foam pad out of the mic and putting the shield back on, but the difference may not justify even that tiny effort. The drummer I plan to use is pretty reliable, but I'm just going to have to chance it on the room- I'm applying the DIY approach to my next set of recordings, so I'll just hope that the universe is on my side as far as resonance is concerned! Triggers are pretty handy, and I bet I've heard them in more places than I realise, but I always equate them with Fear Factory and Morbid Angel! They may be two of my favourite bands, but also very different to the sound I'm aiming for. Unless I could somehow blend acoustics, ukulele, and extreme metal... .
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