Post by Deleted on May 9, 2009 19:48:38 GMT
..... for those who (like me) switch quite a bit between National and a considerably quieter flat top during the course of a gig. I've been struggling of late with my SM57 in this regard. The obvious thing is to move in and out in relation to the mic but I find that with a 57 the signal level drops away quite abruptly and before I've achieved even a moderate degree of attenuation. In most applications of dynamic mics this is an advatage but not in this one.
Picked up a Rode M3 today and from testing it at near (acoustic) gig levels at home it seems to work very well. Moving it a few inches in and out evens out the volume of the different guitars very well, and it has a very focused cardioid pattern so a) you don't lose all the variances in sound from different parts of the National and b) it's sufficiently resistant to feedback (for a condensor) making it a practical gigging proposition. It can also run off a battery meaning you're not reliant on the mixer having phantom power.
On top of that, it's got a HPF and two-stage pad and sounds great.
89 quid! Result
Picked up a Rode M3 today and from testing it at near (acoustic) gig levels at home it seems to work very well. Moving it a few inches in and out evens out the volume of the different guitars very well, and it has a very focused cardioid pattern so a) you don't lose all the variances in sound from different parts of the National and b) it's sufficiently resistant to feedback (for a condensor) making it a practical gigging proposition. It can also run off a battery meaning you're not reliant on the mixer having phantom power.
On top of that, it's got a HPF and two-stage pad and sounds great.
89 quid! Result
