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Thread: Audio Technica 5040 vs. SM57 on electric guitar

  1. #11
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    Quote Originally Posted by PookyNR View Post
    What were your impressions on those other instruments?
    Elec gtr: A++
    Ac Gtr: A
    Mandolin: B-
    Banjo: C
    Lead vocals: B-
    Group vocals: B

  2. #12
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    All said... would it be worth, what? 30x the price of a 57 (or 8x a 421, or 4x a Royer) for use principally as a guitar cab/acoustic mic? A price/value ratio kind of assessment...
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  3. #13
    PookyNR is offline 3D VIP 2005, '06, '07, '08, '09, '10, '11, '12, '13, '14
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    Quote Originally Posted by 3daudioinc View Post
    Elec gtr: A++
    Ac Gtr: A
    Mandolin: B-
    Banjo: C
    Lead vocals: B-
    Group vocals: B
    That's too bad that it's not more versatile. I was hoping that it would perform better on the acoustic instruments. For that price point (~$2500 street price) I wouldn't buy one. But A-T is a brand that my local rental shops would carry, so it might have been a mic that I would rent for certain projects. Oh well. At the very least I applaud them for stepping out and doing something innovative.
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    Quote Originally Posted by PookyNR View Post
    That's too bad that it's not more versatile. I was hoping that it would perform better on the acoustic instruments. For that price point (~$2500 street price) I wouldn't buy one. But A-T is a brand that my local rental shops would carry, so it might have been a mic that I would rent for certain projects. Oh well. At the very least I applaud them for stepping out and doing something innovative.
    Are these results based on hearing it on one instrument? That would be tough. An SM57 is my favorite acoustic guitar mic, but it does not sound great on every acoustic guitar. And when I record electric guitars, I usually use upwards of 6 mics and maybe 10. It has always amazed me that a mic that is the clear winning for one guitar tone can sound absolutely broken on another guitar tone compared to the same set of mics...
    Todd Robbins
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    That guitar track sounds fantastic with the 5040.
    I would consider buying it if it did guitars that well.
    I mostly record guitars. Just got a germanium pre.
    Simply amazing on guitars. Bet the germanium and
    5040 would just be heaven.

  6. #16
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    Quote Originally Posted by guitargear View Post
    That guitar track sounds fantastic with the 5040.
    I would consider buying it if it did guitars that well.
    I mostly record guitars.
    For someone who mostly records electric guitar, I don't think spending $3K is a stretch. Certainly no more than spending $6K on a vocal mic for a vocalist. When it's your primary source, you spend your money there. No different than spending $3K on a preamp or on a compressor or EQ. Or even a guitar for that matter.

    When it's the most important thing to you, then you put your money there.
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    I wonder how long it will take the Chinese to knock this mic off.

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    PookyNR is offline 3D VIP 2005, '06, '07, '08, '09, '10, '11, '12, '13, '14
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    Quote Originally Posted by Todd Robbins View Post
    Are these results based on hearing it on one instrument? That would be tough. An SM57 is my favorite acoustic guitar mic, but it does not sound great on every acoustic guitar. And when I record electric guitars, I usually use upwards of 6 mics and maybe 10. It has always amazed me that a mic that is the clear winning for one guitar tone can sound absolutely broken on another guitar tone compared to the same set of mics...
    Excellent point. One of my favourite kick drum mics is an electret SDC. Often she works great. Other times, not so much. And electric guitars are very picky for the right mic - or at least I'm picky about it.

    When you use that many mics on the electric, are you just auditioning them for the one with best sound, or do you often combine a couple of them to get the best of both worlds?

    I tend to prefer a single mic, but sometimes I like what I get from a combo of mics. I've even had similar experiences with acoustic instruments as well. Of course, my sonic preferences may not be appreciated by the rest of the hearing world.

    I'd still rent the 5040 if for no other reason than to try it out on electric guitar. I'd also experiment with some acoustic instruments as well. A broad base of testing is needed. But I do respect Lynn's first impressions.
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    Quote Originally Posted by PookyNR View Post
    When you use that many mics on the electric, are you just auditioning them for the one with best sound, or do you often combine a couple of them to get the best of both worlds?

    I tend to prefer a single mic, but sometimes I like what I get from a combo of mics. I've even had similar experiences with acoustic instruments as well. Of course, my sonic preferences may not be appreciated by the rest of the hearing world.
    Very rarely will I combine or blend 2 mics - I just don't like the phasing that will inevitably result. Mostly, I am just listening both solo'd and in the track to see which mic will compliment the given sound the best. As I have mentioned before, I have been seeing my newly rebuilt RCA 74b win a large percentage of the time - I love that mic on e/gtrs, but that is about the only thing I love it on... A 57 still wins a lot, and so does a vintage 409, a Beyer m500 (get one, you won't regret it for gtrs), and a Beyer MC201, and a Coles 4038 will sound great on certain sounds too. Also, I have 2 Heil mics (do not know the model #'s, sorry) that sound fantastic!!!

    In fact, the only "combined mic" sound I usually like is to take a 201 and a 57 and put them at right angles to each other like an x/y approach, and then center them right in the center of the cone. Buss them to one track and blend them 50/50 - and listen with one out of phase to make sure you are getting as much cancelation as you can get with one of them flipped as you set your blend. For a rock guitar sound, this will sound HUGE! This tip is on the house. If you win a grammy, thank me on tv...

    Also, am I the only person on the planet who does not like the Royer mics? I try them all the time on e/gtrs and they always, ALWAYS come in dead last or very close to the bottom. I have found them to be very dull, lifeless, and un-exciting in almost every application. The only Royer I like is the sf-24 on drum overheads... obviously, ymmv... everyone else loves them...
    Last edited by Todd Robbins; 11-24-2012 at 10:45 PM.
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    Scott Fraser is offline Gold Club Member (1000+ posts)
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    Quote Originally Posted by Todd Robbins View Post
    Also, am I the only person on the planet who does not like the Royer mics? I try them all the time on e/gtrs and they always, ALWAYS come in dead last or very close to the bottom. I have found them to be very dull, lifeless, and un-exciting in almost every application. The only Royer I like is the sf-24 on drum overheads... obviously, ymmv... everyone else loves them...
    I thought I was the only person who didn't quite get the deal about Royers, well as many other ribbons.
    I recently had a composer/producer ask me to put up a Royer on one of the violins in the quartet. We did. It did absolutely nothing for me that my usual compliment of LDC Neumanns didn't do, & I doubt that track will make it to my mix.
    Another producer I work with a lot brings his own Royer 122s & AEA A440, as well as preamps to our classical sessions. I end up double miking with my usual condensers. We have both concluded that after a lot of unbiased comparing that we could easily get the same desirable results mixing from either set of mics. No clear advantage one way or the other.
    Many years ago I bought a guy's mic collection, mainly to get his MD441s, & included in the case was a B & O ribbon, the precursor & inspiration for the Royer. I used it on brass & saxes for a while until I realized that all I ended up doing in mixing was attempting to restore the missing high end, while working really hard to reduce the noise. Much easier to start with a mic that sounds the way you want without having to go through hoops to arrive at a different endpoint.
    So, yeah, not really getting the deal about Royers.
    SF

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