Ribbon mic and SQ5 live

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This topic contains 23 replies, has 10 voices, and was last updated by Profile photo of nottooloud nottooloud 1 year, 4 months ago.

Viewing 9 posts - 16 through 24 (of 24 total)
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  • #101453
    Profile photo of David
    David
    Participant

    Totally agree Mfk0815, my main question was if and how the SQ handle Ribbon mic’s. (in a live setting)

    Well i learned that SQ can handle this, perhabs even better in combination with a inline db booster.

    Second is the discussion how to improve my E-guitar live sound. Personal i have seen a lot of “mic shoot outs” and i am keep on stick hanging at the R121. (and his cheaper brother R-10) I am also taking your thoughts serious about “the practical” problems this may give on stage, like bleed caused by the figure eight.
    I am also still looking at other options like the AKG C414 and the RE20. (like Hugh suggest) Other mic suggestions are still welcome.

    Thank all for help.

    #101457
    Profile photo of RS
    RS
    Participant

    There is active ribbon mics, also. Less gain needed for those. Like se electronics, that I have excellent experience with in live situations (and studio).

    #101458
    Profile photo of Mike C
    Mike C
    Participant

    I am also still looking at other options like the AKG C414 and the RE20. (like Hugh suggest) Other mic suggestions are still welcome.

    Many times I’ll use an older EV PL6 or RE 10 or 11 mics on guitar amps and a couple times
    I have used the early version of the RE20 call the 667a. All of those mics are in the same “Variable D” EV family of mics.

    The AT large diaphragm mics work well on the guitar amps if you want to go condenser.

    #101459
    Profile photo of David
    David
    Participant

    Which SE Electronics Ribbon Mic can you recommend for E-guitar Amp mic?

    #101466
    Profile photo of MarkPAman
    MarkPAman
    Participant

    Ears are what I use!

    I’m pretty sure the bands & punters do too. If I ever do a gig for an audience of robots then I’ll have to rethink this strategy, but until then, it works well for me.

    Although we use highly technical equipment, we’re still helping produce art, which involves personal preferences and judgements. If my ears tell me it sounds good, I find that most other people will agree, and bands will continue to employ me. I have all sorts of sound analysis tools available if I want, but a dB(leq) meter & my ears are all I usually use.

    #101475
    Profile photo of RS
    RS
    Participant

    I use VR2s for guitar amp and overheads. Like them a lot!

    #101484
    Profile photo of David
    David
    Participant

    Thanks RS for the VR2 tip, i am looking in to it.

    #101491
    Profile photo of Hugh
    Hugh
    Participant

    It matters not whether the OP is referring to studio recordings or live SR activities when the OP is contemplating the use of a ribbon mic on a guitar amp. Any accomplished session mix engineer knows the importance of evaluating how well the given instrument sits in the final two mix, not how much you like how it sounds when the PAFL button is engaged: they are two very different things. Achieving a synergistic blend of all participants should be our primary goal. To this end I have serious doubts pursuant to the degree to which any ribbon mic will deliver the appropriate magic sonic properties to achieve this end any better than LDCs or the ubiquitous dynamic RE20 that are much easier to deal with.
    Hugh

    #101545
    Profile photo of nottooloud
    nottooloud
    Participant

    I am a huge fan of ribbons on guitar amps. With a 57 or whatever, I’m always EQing out the harsh, because that’s what it hears 2″ from the speaker. I have a couple of cheap Chinese side address ribbons. Hang one in front of the amp and turn it up. Done. That rounded high end is exactly what’s needed. Just be careful not to engage phantom power on that channel.

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