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Post by doubledog on Oct 15, 2024 15:31:59 GMT -6
I know someone of you will disagree or even hate me for saying this, but a 57 still works great on a snare drum. I just finished a couple tracks where I used a 57 (top and bottom actually..) instead of an array of other mics I have, and it just works. Maybe it's the snare drum, or the preamp I'm using (Hairball Gold) or maybe it's the phase of the moon. I don't know. I might use a different mic next time, or not. I probably could have saved some money instead of buying a bunch of other fancy mics lol.
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Post by Ward on Oct 15, 2024 15:39:39 GMT -6
Must be atmospheric pressure.
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Post by Tbone81 on Oct 15, 2024 15:56:07 GMT -6
57’s sound great on snare. For me the issue is they sound like crap with HH bleed. My snare mic choice is always more centered around the bleed then the actual sound of the snare. I feel like the OH really provide the snares tone more than the close mics…ymmv of course
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Post by wiz on Oct 15, 2024 16:03:45 GMT -6
M201
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Post by EmRR on Oct 15, 2024 16:51:39 GMT -6
Have mostly given up on trying anything else....
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Post by smashlord on Oct 15, 2024 17:22:14 GMT -6
SM57s still work on a lot of things. I worked with a legendary producer the other day who requested 57/421s on all the guitar cabs.
For snare, I find either the SM57 or M201 does the job, depending on where the hi hat is and where you need the null. As someone said, that is more important than the nuances of the tone of the mic. At the end of the day when you are putting 12db or so of top and bottom into it with an EQ, how much does the original tone really matter?
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Post by Dan on Oct 15, 2024 17:32:59 GMT -6
Works fine. Just use a good pre and eq it. My re16 I don’t want to break.
An ATM650 has a similar sound, less bleed, and is cleaner.
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Post by phdamage on Oct 15, 2024 17:59:47 GMT -6
SM57s still work on a lot of things. I worked with a legendary producer the other day who requested 57/421s on all the guitar cabs. For snare, I find either the SM57 or M201 does the job, depending on where the hi hat is and where you need the null. As someone said, that is more important than the nuances of the tone of the mic. At the end of the day when you are putting 12db or so of top and bottom into it with an EQ, how much does the original tone really matter? Just cuz I’m curious, what kind of band? I’m dark ribbon paired with tube mic (Beesneez 67 or Stam tube 87) on guitars usually these days tho im mostly recording heavy distorted guitars |
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Post by griffinpb on Oct 15, 2024 18:12:12 GMT -6
I didn't even own a 57 until late 2018, and it was quite a shock to realize that I actually liked it considering the vitriol online. Especially one of my favorite blend mics for clean Fender amp tones. Rarely my first choice on anything but I'm afraid the sm57 is a victim of its own success, where it's not as good of a mic as its zealots evangelize or as unusable as its haters claim. Just a decent, inexpensive, opinionated sounding tool.
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Post by bigbone on Oct 15, 2024 19:08:38 GMT -6
57 works great for years on thousand of records for snare.
that will be it for that !!!!!
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Post by Tbone81 on Oct 15, 2024 19:34:18 GMT -6
I said this recently in another thread but it bares repeating…I always forget how good a 57/58 can sound through a good preamp. I’m so used to hearing them going through crappy digital mixers or beat to shit mackies, connected to crappy PA’s…that’s just kinda the sound burned in my mind. And then I hear someone singing through one in the studio, feeding a 1073 and it’s like, “oh yeah, that mic does sound good”.
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Post by sean on Oct 15, 2024 20:41:03 GMT -6
I’ve tried a lot of things and currently SM57’s with the Crimson White handles have been really working for me.
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Post by smashlord on Oct 15, 2024 20:53:11 GMT -6
SM57s still work on a lot of things. I worked with a legendary producer the other day who requested 57/421s on all the guitar cabs. For snare, I find either the SM57 or M201 does the job, depending on where the hi hat is and where you need the null. As someone said, that is more important than the nuances of the tone of the mic. At the end of the day when you are putting 12db or so of top and bottom into it with an EQ, how much does the original tone really matter? Just cuz I’m curious, what kind of band? I’m dark ribbon paired with tube mic (Beesneez 67 or Stam tube 87) on guitars usually these days tho im mostly recording heavy distorted guitars 90's alternative/indie/post punk I guess? I know a few producers from that had their heyday in the late 80's/early to mid 90s alt rock scene and I always got the impression that at the time, ribbons were very not in vogue. One of them woefully used to tell a story of selling his original R44s for something silly like some digital delay or ADAT or something because they just weren't the thing in the late 90's. Anyway, I can only guess that preference carried forward. There was a pair of 121s in Blumlein in the room, though. I am with you on the ribbon thing for heavy guitars though... 57/121 and 57/R92 are fantastic in that application, as are 2x lowly 57s at about a 45- 50 degree angle to each other. |
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Post by Oneiro on Oct 15, 2024 21:02:38 GMT -6
They're fine and predictable and sound dull in the exact range where a snare drum might be annoying. Used them on guitar cabs the other day - super familiar sound, easy and done and again absorb the annoying bits of a guitar amp's peakiness.
Yeah, I like a lot of mics "better" for snare - M201 / Revox, Altec 165, Sanken CU-55, e22s - but it does a specific thing in certain places that I value often.
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Post by christophert on Oct 15, 2024 22:08:31 GMT -6
If they made the ends out of metal then I would use them more on snare. A 57 always sounds shitty on heavy rock where the bleed is a real problem. Otherwise they can be great.
I like them with the AMI transformer in them.
A 201 is bulletproof, and almost always ends up sounding great.
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Post by drumsound on Oct 15, 2024 22:28:18 GMT -6
Have mostly given up on trying anything else.... I've given up on trying 57s |
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Post by plinker on Oct 15, 2024 22:43:02 GMT -6
Have mostly given up on trying anything else.... I've given up on trying 57s 🤣🤣🤣 |
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Post by doubledog on Oct 15, 2024 22:43:08 GMT -6
I already knew Tony was a hater lol.  And I'm not saying it really sounds that much better - or that it is any better than another mic. But with a few songs recently, its just been the right mic to get the sound for the song and it required minimal EQ to get there. I've got lots of other mics I can use for snare - and do. Revox 3500, Audix i5, Telefunken M80, Lauten Snare Mic, 441, EV 664, Sennheiser 402 (sounds good on the shell sometimes)... and that's just the dynamics... But many times the type of song, or type of snare makes more of a difference than the mic. A good preamp does make a difference too. Also, I'm playing, so I know I'm not bashing the hihats unnecessarily... If someone else is playing I might need to worry more about hihat bleed or choking the the tone out of the drum (it's definitely happened...) but always depends on the player. |
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Post by EmRR on Oct 15, 2024 22:54:46 GMT -6
Have mostly given up on trying anything else.... I've given up on trying 57s Yeah I really despise them pretty much anywhere else, though they seem to work better onstage with acoustic guitars than most other things on a stand. There's shit to fight still but intelligibility beats most of the rest. |
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Post by theshea on Oct 16, 2024 0:22:25 GMT -6
a 57 always works on snare (maybe with a bit of foam around for hihat bleed)but i hate it on a guitar cab. i just don‘t like that close-up-on-the-grill brittle/sizzle/treble 57 sound. but thats just my taste.
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Post by kbsmoove on Oct 16, 2024 8:57:37 GMT -6
57 is cool if the bleed is tolerable. but 545s are even cooler.
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Post by mcirish on Oct 16, 2024 9:20:25 GMT -6
I don't know... I've used a 57 on snare on many recording but have kind of moved to an i5. The i5 has more clarity and top end (which I have to put in anyway). I couple that with an Oktava MC-012 to pick up more of the meat of the snare. It's been working for me but I've often thought about the 201 and wondered if I could get by with a single mic on the top of the snare.
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ericn
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Post by ericn on Oct 16, 2024 11:59:53 GMT -6
I know someone of you will disagree or even hate me for saying this, but a 57 still works great on a snare drum. I just finished a couple tracks where I used a 57 (top and bottom actually..) instead of an array of other mics I have, and it just works. Maybe it's the snare drum, or the preamp I'm using (Hairball Gold) or maybe it's the phase of the moon. I don't know. I might use a different mic next time, or not. I probably could have saved some money instead of buying a bunch of other fancy mics lol. Shhh!🤫 It’s a very dirty secret nobody talks about. I also think it’s a bit dependent on the snare and the audience, for everyone who says it’s blah you will find someone who says it sounds like a record because it does! |
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Post by niklas1073 on Oct 16, 2024 14:35:58 GMT -6
I guess we all get collectively used to sounds. 57 and a supra must be embedded in our dna at this point. Doesn’t really matter if it’s great or not… it kind of just is what a snare sounds like 🤣
I do track my snares with a 57. Mainly because that’s what I have and it works. But when I have the funds I will be very tempted to invest in a Lauten snare mic…
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Post by ab101 on Oct 16, 2024 14:42:11 GMT -6
57 worked great on snare and hand drums during my tape days. But there are so many more interesting choices imho.
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