The Steel Guitar Forum

As a novice pedal steel player and a sound engineer for a band with a pedal steel player, I want to shamelessly recommend a microphone for pedal steel amp micing. I used to go with the crowd and use a Shure SM-57.

But then I tried the EV Colbalt 4 (Co4) and the fidelity blew me away. Much like going from a pot pedal to a Hilton pedal. The Co4 looks like a miltary version of a SM-57, but costs around $50 to $60 depending on your retail situation.

The only explanation I can come up with for the increased mid to high frequency quality, is that the Co4 has a stronger magnet (Neodymium) which to me means less wraps of voice coil wire on the diaphragm. A lighter diaphragm should track the higher frequencies better than mic designs with heavier diaphragms because it would comply better with sound pressure waves.

This probably applies to similar mics like the Beta-57, and of course with condenser mics. Other opinions are welcome to chime in.

Mark,

Can't beat the price on this mic if it performs as stated.
I'm curious other preferences out there. Studio compared to live?
Dennis

Wayne Moss at cinderela sound studios sayed that he mikes Russel Hick's amps with an electro voice.Cant remember which model.But I hope that helps.

Robert

<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Robert Rogers on 05 September 2002 at 09:38 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Robert Rogers on 05 September 2002 at 09:38 PM.]</p></FONT>

Mark, what kind of speakers were you micing with that EV mic? I wonder if there's such a thing as a "match" between speaker and mic.

I recently bought a pair of SM-57s to mic a pair of EVM-12 speakers. We've done a few live recordings with them, and I'm very happy with the results. It's hard for me to imagine a better recording of these speakers.

Regarding the mic to speaker compatibility, I guess I have not been playing matchmaker too carefully.

I've used the Co4 on a variety of amps, including a Webb amp on a weekly basis, a Line 6 for fiddle and tele, and a Fender Tonemaster amp for a tele; also every weekend.

I've also used the Co4 on several Peavey and Marshall amplifiers for blues and rock groups, and have gotten compliments on the fidelity of reproduction. So include Black Widows, Scorpions, and Celestion Greenback speakers into the driver list.

In my last mic "shootout", I have a SM-57, Co4, PG-57, and a Superlux 57 clone; and to me the Co4 was the "no-brainer" beauty contest winner. I now have four Co4's in my traveling mic bags, and the SM-57's are now in near retirement mode except when a drummer wants a snare mic.

Mark,

Thanks for the tip, Mark. I'll be picking up one of these to try myself.

Thanks Mark...Sounds like a great mic.
Dennis

I bought a Beta-57 instead of an SM-57 a few years ago. At the music store where I purchased it, you could try them out side-by-side, and listen to the difference through studio-type headphones. From my own viewpoint...there was just no comparison. The Beta had far more clarity and output, and it's anti-feedback qualities are astounding (it has a super-cardioid pattern). Makes a great solo vocal mike, too!

Of course, your mileage may vary.

My choice is a bit pricier, but my EVM12's sound incredibly great recorded with an AKG414.
The EV mic in question might be the RE20. They are good sounding dynamic mics. Very smooth overall response, without the presence problems when you close mic with it.

My all time favorite steel mikes are the Royer 121 ribbon mike or any of the Coles ribbons. They are also great on strings.

My bandleader just suggested I get a ShureM57 mic for my amp (reissue fender 65 twin), and I came to the forum to see if there was a better opinion. I'm glad to read this, Where can you buy the co. mike? Tom

Tom...Musiciansfriend.com has a big selection of mics. The Co4 is available there.
Dennis

Some of the other mics suggested in this thread have been real good altenatives to the SM-57. The Beta 57 is also a really good mic and comes with the tighter hyper-cardiod pickup pattern. My partial reason for recommending the Co4 is that a Beta 57 would set most folks back about $150, whereas a Co4 would be much closer to $50 and sound still better than an $80 SM-57.

A debate could be made on cardiod versus hyper- or super-cardiod pickup pattern mics. My feeling is that mics that reside forward or downward near or on an amp's grille cloth are going to pickup the speaker's cone excursion much better than any other sound source a few feet away with similar loudness.

To me a hyper-cardiod mic pays the biggest dividends when used as a vocal mic, with loud stage volume issues like cymbal crashes very loud guitar amps behind the vocalist.