Grateful Dead Music Forum

The placement of the mic is super important. About an inch or so from the cones center right off the dust cap. Then, tilt the mic aiming Down a little to catch some more tone from the farther section of the middle of the cone. Kind of like mixing both in the final signal. that seems to work well for me and was taken from a picture of Jerry's cabs. It seems like I am trying to catch both highs and mids/low mids with the right tilt. I will try to take a pic. Just putting it right at the center of the speaker hasn't givens a tone I like best.

Okay, as promised I recorded some clips comparing the SM57 to the e906. First, I want to apologize for not doing a great job of recording, especially the e906. It seems to be much more sensitive and fuller sounding than the SM57 (you can really see this in the recorded wave patterns, actually) and I ended up with more clipping on the e906 stuff. I was just getting a handle on taming the SM57 and this is a new ball of wax.

Could have been a better shootout if I had more patience to really get all of the levels right, but hopefully this gives you a flavor.

The first riff in each sequence is the SM57, followed by the e906:

http://www.soundclick.com/player/single ... 44776&q=hi

Thanks LS, That is helpful since I am really familiar with the SM57 tone I can place the difference with what you had going on with the e906. I appreciate you taking the time.

I fogot I owned a Dynamic MD 741 sennheiser that is tonally similar to the MD 420 but not in the same ballpark still yet. I posted a clip of my rehearsal and I think its getting closer to what I want but still not there even after working with the EQ on the board. I am gonna reluctantly sell some speakers and figure out which mic I want. I found some photos of jerry's mic placement that seems impossible with a wide faced mic like the 906. So If I go with the e906 I have to figure out how to place it in front of the cab anyway I guess.

PS great playing and I totally prefer the e906 in that shootout. much better tone to it.

JonnyBoy wrote:The placement of the mic is super important. About an inch or so from the cones center right off the dust cap. Then, tilt the mic aiming Down a little to catch some more tone from the farther section of the middle of the cone. Kind of like mixing both in the final signal. that seems to work well for me and was taken from a picture of Jerry's cabs. It seems like I am trying to catch both highs and mids/low mids with the right tilt. I will try to take a pic. Just putting it right at the center of the speaker hasn't givens a tone I like best.

JB - (1) do you have pictures of Jerry's cab or can point me/us to them? (2) in the quote above you're saying that the mic grille should be only 1 inch away from the cone's center/dust cap--so very close, basically inside the cone an inch from the dustcap? And most/all of the mic grille should be outside the dust cap? Just trying to either get some pics or better visualize your description of the sweet spot. Thanks.

lunasparks wrote:JB - (1) do you have pictures of Jerry's cab or can point me/us to them? (2) in the quote above you're saying that the mic grille should be only 1 inch away from the cone's center/dust cap--so very close, basically inside the cone an inch from the dustcap? And most/all of the mic grille should be outside the dust cap? Just trying to either get some pics or better visualize your description of the sweet spot. Thanks.

It is the same spot as always, but with the mic crossing in front of the dustcap rather than hitting it from the side. The bottom of the mic bulb is actually over the dust cap. Same thing but backwards if that makes sense. Saw it on a DVD I don't have a photo of it.
It seems he more often hit the inner cone coming from the outside, rather than aiming at it from the inside in most photos/vids. YMMV.

I've tried many times and failed 100% of the time with an SM57. I could never ever get that mic to work on a JBL for a good Jerry tone. I refuse to try anymore. There's something about the treble peak in a '57 that just fights me every time. I can definitely make a '57 work as a good guitar mic on many speakers if carefully positioned, but not on a JBL... The result is always small, phasey, and harsh with a '57. The Senn421 has the curve for Jerry tones and is SUPER clean and friendly with that metal dustcap, very clear, full, and strangely not harsh. The Senn 409/609/906 is a great alternative, a bit more cloudy and warm, but easy on the ears and nicely clear and sweet. For anyone who's invested in an authentic Jerry tone, I can't imagine not owning a Sennheiser 421 as an essential and key part of the rig.

B

SarnoMusicSolutions wrote:I've tried many times and failed 100% of the time with an SM57. I could never ever get that mic to work on a JBL for a good Jerry tone. I refuse to try anymore. There's something about the treble peak in a '57 that just fights me every time. I can definitely make a '57 work as a good guitar mic on many speakers if carefully positioned, but not on a JBL... The result is always small, phasey, and harsh with a '57. The Senn421 has the curve for Jerry tones and is SUPER clean and friendly with that metal dustcap, very clear, full, and strangely not harsh. The Senn 409/609/906 is a great alternative, a bit more cloudy and warm, but easy on the ears and nicely clear and sweet. For anyone who's invested in an authentic Jerry tone, I can't imagine not owning a Sennheiser 421 as an essential and key part of the rig.

B

Is there any difference between the 421 and the 421II?

I think the MD 421 and the MD 421 II are essentially the same mic, but the "II" has roll off switches to help revoice the mic. I don't think I want a 40 year old mic and then expect it to be up to par, unless its been in a studio all this time. I have been using the MD 741 and it is a nice dynamic mic that captures the best so far out of my small mic locker. I see that many Pro sound guys covet the MD 421 as the shiznit when micing drums and cabs, but Man they are expensive though.

Thanks Jon

Question for the folks using the e906:

What have you found to be the best setting for the presence filter...normal, boost, or attenuate? Granted the optimum setting may vary with rig...

Just curious what you have found with your rig.

Thanks!