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Post by mrholmes on Oct 22, 2018 13:53:59 GMT -6
The first German Mic in my life that goes back after the first guitar take. Grainy HF, lack of definition in the low end...
One of the live guys told me I should try it...
Zennheiser Zip Sound? LOL
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Post by jdc on Oct 22, 2018 17:17:53 GMT -6
I like the 609, especially into a VP28 or 312. It needs another mic with body to pair with but I'm always putting two mics on guitar cabs. I like it with a telefunken modded 57
To each their own I guess.
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Post by seawell on Oct 22, 2018 18:11:59 GMT -6
I like the 609, especially into a VP28 or 312. It needs another mic with body to pair with but I'm always putting two mics on guitar cabs. I like it with a telefunken modded 57 To each their own I guess. I agree, it works best with something else that can blend in some body/low end. I use it alongside an AEA R92.
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Post by mrholmes on Oct 22, 2018 18:55:24 GMT -6
I like the 609, especially into a VP28 or 312. It needs another mic with body to pair with but I'm always putting two mics on guitar cabs. I like it with a telefunken modded 57 To each their own I guess. Good point, but why using two mics if I can get what I want with one microphone?
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Post by jdc on Oct 22, 2018 19:53:06 GMT -6
I like the 609, especially into a VP28 or 312. It needs another mic with body to pair with but I'm always putting two mics on guitar cabs. I like it with a telefunken modded 57 To each their own I guess. Good point, but why using two mics if I can get what I want with one microphone? Very true
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Post by pfhuck on Oct 22, 2018 20:00:47 GMT -6
They are pretty great on rack toms! Cheap, and I love the side address profile.
I've been using beta 181s on shells lately though...
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Post by Ward on Oct 23, 2018 9:43:27 GMT -6
The upside to using them on tom toms is if they get hit and destroyed, nothing valuable has been damaged . . . except maybe a drum stick.
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Post by Ward on Oct 23, 2018 13:02:50 GMT -6
(that was humor by the way)
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Post by donr on Oct 23, 2018 14:56:37 GMT -6
I've never understood the appeal of the 609 on guitar cabs. Except you could hang 'em by the cord over the top. But I like Shure 57/58's, U87's and push/pull 6L6/6V6 tube amps.
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Post by ragan on Oct 23, 2018 15:04:43 GMT -6
I like the 609 quite a bit. I use it less than a 57, as far as what dynamic I've got on a cab, but when the 57 has too much nasal bark and not enough air, the 609 is usually just the ticket. In either case I've always got the dynamic paired with a ribbon and usually an LDC too.
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Post by johneppstein on Oct 23, 2018 15:22:47 GMT -6
The upside to using them on tom toms is if they get hit and destroyed, nothing valuable has been damaged . . . except maybe a drum stick. They also fit in well under ride cymbals that are too low to the toms if the recalcitrant drummer refuses to raise them.
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Post by johneppstein on Oct 23, 2018 15:25:47 GMT -6
I've never understood the appeal of the 609 on guitar cabs. Except you could hang 'em by the cord over the top. But I like Shure 57/58's, U87's and push/pull 6L6/6V6 tube amps. Exactly. They're pretty handy for crappy punk gigs with crowded stages.
I would never, ever think of recording with them.
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ericn
Temp
Balance Engineer
Posts: 14,934
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Post by ericn on Oct 23, 2018 15:47:52 GMT -6
I've never understood the appeal of the 609 on guitar cabs. Except you could hang 'em by the cord over the top. But I like Shure 57/58's, U87's and push/pull 6L6/6V6 tube amps. Exactly. They're pretty handy for crappy punk gigs with crowded stages.
I would never, ever think of recording with them.
Funny enough they were my local Shure reps favorite live mic, well until he got the Shure gigđ
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Post by mrholmes on Oct 23, 2018 16:48:54 GMT -6
I've never understood the appeal of the 609 on guitar cabs. Except you could hang 'em by the cord over the top. But I like Shure 57/58's, U87's and push/pull 6L6/6V6 tube amps. Exactly. They're pretty handy for crappy punk gigs with crowded stages.
I would never, ever think of recording with them.
BTW used the one I know the best. My UMT 70 25cm away form the cab off axis and we had a nice fat warm archtop Jazz sound with defined low end and warm mellow top end...and dynamics which are nothing but wonderful. Sometimes I think the UMT70 is the only mic I need. At least I use it in 80% of all cases except e-base cab. Vocals Guitars E or A everything is nice, in the right mic spot. Love that thing to death....
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Post by johneppstein on Oct 23, 2018 19:41:56 GMT -6
Exactly. They're pretty handy for crappy punk gigs with crowded stages.
I would never, ever think of recording with them.
BTW used the one I know the best. My UMT 70 25cm away form the cab off axis and we had a nice fat warm archtop Jazz sound with defined low end and warm mellow top end...and dynamics which are nothing but wonderful. Sometimes I think the UMT70 is the only mic I need. At least I use it in 80% of all cases except e-base cab. Vocals Guitars E or A everything is nice, in the right mic spot. Love that thing to death.... Oh, baby Jezeezus! I would never, ever think of recording or live micing any jazzbox with an e609. No friggen way. I'd gladly use an MD409 or the oem consumer version of the 409, but the only resemblance between the two is cosmetic. I used to have a pair of MD409Us (the reissue without the pigtail), which were amazing; sadly they got stolen by a client I should not have trusted. They're NOTHING like e609s sonically. <barf>
At LEAST 4 times, maybe a half dozen, I asked the head Sennheiser factory reps at AES why they did not reisuue the MD409, since there was so much obvious demand and the mics were going for fairly ridiculous sums on the internet. Every time they lied to me and told me that is was economically impossible.
Given the relative simplicity of the 409 and the complexity, price, and continued success of the 441 I see no truth in the "company line".
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Post by jazznoise on Oct 24, 2018 4:14:15 GMT -6
I think the E906 is the one to get and not the 609, it's a fizzy ol' yoke. 609's are fine for live work, saves having extra stands on stage.
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Post by geoff738 on Oct 24, 2018 13:02:50 GMT -6
I like them ok on guitar cabs, but thereâs other stuff I like better.
Cheers, Geoff
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Post by iamasound on Oct 24, 2018 13:31:01 GMT -6
Exactly. They're pretty handy for crappy punk gigs with crowded stages.
I would never, ever think of recording with them.
BTW used the one I know the best. My UMT 70 25cm away form the cab off axis and we had a nice fat warm archtop Jazz sound with defined low end and warm mellow top end...and dynamics which are nothing but wonderful. Sometimes I think the UMT70 is the only mic I need. At least I use it in 80% of all cases except e-base cab. Vocals Guitars E or A everything is nice, in the right mic spot. Love that thing to death.... Same here. I just love mine as it rocks on so many sources with those three polar patterns and sweet M7 capsule.
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Post by michaelcleary on Oct 24, 2018 15:13:17 GMT -6
I think the E906 is the one to get and not the 609, it's a fizzy ol' yoke. 609's are fine for live work, saves having extra stands on stage. This. I use e906s all the time. Live and recording. I would not use a 609 unless someone is on a budget and need one for a live show.
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Post by Johnkenn on Oct 24, 2018 15:37:40 GMT -6
I think the E906 is the one to get and not the 609, it's a fizzy ol' yoke. 609's are fine for live work, saves having extra stands on stage. This. I use e906s all the time. Live and recording. I would not use a 609 unless someone is on a budget and need one for a live show. Can you not just turn the 609 upside down? Sorry...I had a âturn it upside downâ joke in a polarity thread...and I just couldnât help myself...continuing a long tradition of master comedy.
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Post by jazznoise on Oct 24, 2018 17:33:47 GMT -6
I think the E906 is the one to get and not the 609, it's a fizzy ol' yoke. 609's are fine for live work, saves having extra stands on stage. This. I use e906s all the time. Live and recording. I would not use a 609 unless someone is on a budget and need one for a live show. It's definitely the better of the 2. E609's remind me of fizzy metal guitar tones. Like a Jackson into a Line6 with a Metalzone or something. If you want to try a different dynamic from the usual stock but not outrageously pricey I'd suggest a Beyer M201 or M88, or some older mics like an EV635a or an AKG D130.
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Post by johneppstein on Oct 26, 2018 9:58:36 GMT -6
This. I use e906s all the time. Live and recording. I would not use a 609 unless someone is on a budget and need one for a live show. It's definitely the better of the 2. E609's remind me of fizzy metal guitar tones. Like a Jackson into a Line6 with a Metalzone or something. If you want to try a different dynamic from the usual stock but not outrageously pricey I'd suggest a Beyer M201 or M88, or some older mics like an EV635a or an AKG D130. I like 201s for recording electric guitars a lot. They're like 57s that sound good. I also like the smaller mics in the EV RE series - RE 10.11, 15, 16. Occasionally AKG D12s, too. The are photos of The Beatles using those on guitar. I like my Earthworks measurement mic, too. Sennheiser MD409s are good, too.
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Post by Guitar on Oct 28, 2018 8:49:55 GMT -6
I have a 906 and a 609. I guess I do like the 906 a bit better. The 609 you have to keep more toward the edge of the cone it's too bright near the center.
It would be fun to pair it with a ribbon, I haven't tried that yet.
I liked these mics well enough that I got an e902 for my inside kick drum mic. I use a Beyer M88TG outside the kick. You put them together it's a big, mean, punchy kick drum sound (with a little mixing of course.)
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Post by jcoutu1 on Oct 28, 2018 10:32:34 GMT -6
Every time I try a 609, I pull it off and replace with a 57. Tracking a JCM2000 DSL through a Mesa Recto 4x12 today. Samar VL37 and a 57 both into CAPI VP26s. Little bit of board eq on the way in. Sounds bad ass. Raw AF.
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Post by svart on Oct 29, 2018 10:07:34 GMT -6
I did the same as everyone else here. Bought the 609 and 906 solely from the reviews at the purple place.
First time I listened, I think it took me an hour to stop cringing.
I tried again a few times and then sold them.
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