# Sennheiser 609 for studio guitar cab: hyper-objective comparisons requested.



## KapnKrunch (Jul 13, 2016)

Sennheiser 609 could solve "problems" for me.

The cords on the floor from moving mics around the studio. The ungainly mic stands & booms.

Solution: do the dangle and run a dedicated line against the wall to the desk.

Can anyone give me direct comparisons to other mic'ing protocols? I am into decent DEMO's of my original songs for use by other musicians. Not recording for "release".

Like this:


----------



## zdogma (Mar 21, 2006)

I think the 609 works great as a « dangling cab mic » I loop it around the handle once so it doesn’t slip, you can adjust the position-I stick a bit of masking tape on the best spot when I remove it. If you want to get something closer to how the amp sounds in the room, you can mix in a condenser or a ribbon.

I find it a bit more neutral than the SM-57-I prefer it for clean sounds and lower gain amps.

I tend to use it with an AT2020 backed off a foot or two and I don’t really have to EQ very much, just blend them together, but it sounds quite good on its own as well.


----------



## zdogma (Mar 21, 2006)

I just looked at your setup, i think you’re already doing all the stuff I suggested…


----------



## Ti-Ron (Mar 21, 2007)

zdogma said:


> I think the 609 works great as a « dangling cab mic » I loop it around the handle once so it doesn’t slip, you can adjust the position-I stick a bit of masking tape on the best spot when I remove it. If you want to get something closer to how the amp sounds in the room, you can mix in a condenser or a ribbon.
> 
> I find it a bit more neutral than the SM-57-I prefer it for clean sounds and lower gain amps.
> 
> I tend to use it with an AT2020 backed off a foot or two and I don’t really have to EQ very much, just blend them together, but it sounds quite good on its own as well.


I never did the "in the room" mic like you mentionned above. Can you tell me more about that process? I did tried a AT2035 in the corner of the walls facing the amp to get a "reverby" effect. Do you get more "body" or more "room" or other desirable effetcs?


----------



## KapnKrunch (Jul 13, 2016)

zdogma said:


> your setup


Actually a stock photo from the Sennheiser website @zdogma 

Thanks for your feedback. This mic was recommended by a pro studio guy. He also recommended your hassle-free handle/tape set-up. That's why I posted the photo. That set-up eliminates the stand, boom, etc in front of the amp which I like to have close to the desk for adjustments. I have had enough of avoiding rolling over the cables with the office chair.

My mind is pretty much set on it. I am just fishing around for additional info. Thanks again.


----------



## Chito (Feb 17, 2006)

I would suggest the e906 and not the e609. The e906 gives you a flatter response, smoother on the high frequencies and more transparent. Very similar mics though. The e906 goes on sale I think once a year. Both are better than the sm57.


----------



## Always12AM (Sep 2, 2018)

Comforting sentiments:
Floor space and wiring and RF frequencies have likely been the source of a lot of peoples recording decisions.

Compromises always exist in one form or another. But that’s the spirit or engineering. Trial and error and innovation

Room Recording:
When putting a microphone right on the grille (I would put it a bit to the right or left of the cone). You are simulating the sound of someone sticking their face right on the amp and listening.

Imagine where your ears are on your head and where your amp and speaker is in relation to it when you are listening.

A high gain 4x10 fills a room / hall. So mic right on the grille = the sound of a room full of noise.

With a smaller, more organic sounding amp, one may choose to back it off 1-10-20 feet. It’s more or less using physical distance to simulate panning and volume and ambience. When mixing after, it can be nice to have an additional source to mix in with the close mic.

I once put an external cab in a stair well and then a microphone also in the stairwell as a second source hoping to achieve “Capitol records” room reverb.

it didn’t work lol.


----------



## Griff (Sep 7, 2016)

Agreed with the above. I bought the e906 during the sale at L&M this year and have no regrets. I had previously been using an e609 close miced as you described and much preferred it to an SM57. The e906 just sounds fuller, but bother sound better than the SM57.


----------



## zdogma (Mar 21, 2006)

Ti-Ron said:


> I never did the "in the room" mic like you mentionned above. Can you tell me more about that process? I did tried a AT2035 in the corner of the walls facing the amp to get a "reverby" effect. Do you get more "body" or more "room" or other desirable effetcs?


I use two inputs on my Scarlett, one with the 2020 and one with the 609. I usually put the 609 on the grill but off to the side of the cone, I like the 2020 on a stand about 3 feet back from the cab. I send the two inputs to different tracks on the DAW (I use Logic pro) and I can blend the tracks, really easy. You can also pan it to have a side by side comparison.


----------



## sulphur (Jun 2, 2011)

I replaced a SM57 with an e906 an much preferred it.
Though I didn't do a side by side comparison, I found it just sounded better so I didn't bother to compare.

The form was initially what I was after to avoid the stand and cords in front of the amp, the performance was the icing.
I picked up mine after recommendations in this forum.


----------



## Grab n Go (May 1, 2013)

Years ago I read about a gigging guitarist who dangled an omni lav mic in front of his amp. I've been meaning to try it some time.

The main "benefit" for an omni would be the lack of proximity effect, unlike a cardioid. I imagine it would be a roomier sound as well.

Anyway, maybe something to consider for a dangling mic setup.


----------



## guitarman2 (Aug 25, 2006)

I have the e-906 Sennheiser. At home in studio I have a short mic stand that sits on the floor in front of it and the amp is on stand about 10 inches off the floor. Live on stage I drape it over the front of the amp.


----------



## guitarman2 (Aug 25, 2006)

sulphur said:


> I replaced a SM57 with an e906 an much preferred it.



I have the e-906 and was thinking of picking up an SM57 for comparison and maybe to use it as a second mic for my amp. Place the e-906 up right in front of the speaker and have the SM57 on a boom about 2 feet or so in front of the amp, for recording.


----------



## Milkman (Feb 2, 2006)

I've never liked hanging a mic by the cable at a live music event. I don't like the risk of a disconnection and I also don't like the mic being loose and unsupported, able to bang against the cab or whatever.

It works I suppose, but I've always preferred a little stand which allows me to place the mic EXACTLY where I want it.

I realize we're talkng about recording as opposed to a live gig, but I'd still want a stand.

The mic is a good one.


----------



## KapnKrunch (Jul 13, 2016)

@Chito @Griff @sulphur At twice the price the 906 is still affordable. Thanks, definitely an option. A hundred bucks is nothing for better sound. Not crazy about the filters and stuff, but hopefully thats not the features that I will pay for.

@Grab n Go Hey! I have a lavalier. Sounds great with harmonica. I will try it with the amp. Thanks.

I always close mic guitar. The slighest movements and angles make big differences. If some one doesn't like the sound, they need to fiddle around until they get it right. I have received great compliments and then re-recorded and lost the magic. That's another hope I have with the flat-sided Sennheiser -- set & forget.

@guitarman2 and @Milkman thanks for the validations! The 906 sounds like a winner. Glad I posted.


----------



## Milkman (Feb 2, 2006)

KapnKrunch said:


> @Chito @Griff @sulphur At twice the price the 906 is still affordable. Thanks, definitely an option. A hundred bucks is nothing for better sound. Not crazy about the filters and stuff, but hopefully thats not the features that I will pay for.
> 
> @Grab n Go Hey! I have a lavalier. Sounds great with harmonica. I will try it with the amp. Thanks.
> 
> ...



It's a great guitar mic. I also like it for snare drum, but unfortunately in that context it also makes a nice target.


----------



## Granny Gremlin (Jun 3, 2016)

Ti-Ron said:


> I never did the "in the room" mic like you mentionned above. Can you tell me more about that process? I did tried a AT2035 in the corner of the walls facing the amp to get a "reverby" effect. Do you get more "body" or more "room" or other desirable effetcs?


There's many ways and reasons to do that. I used to only distance mic (didn'tlike it - I suspect it was the proximity effect), but now I often throw a 421 or something on the grille (I say 421 because they have a handy HPF to mittigate proximity effect).

I once recorded an entire record's bass and guitar with all the cabs available hooked up and piled into a huge monolith along 1 wall, condensor a couple meters back. It was somethin. KInda like multitracking/layering but didn't get thick/muddy in the low mids as much. 

The other month I recorded a single tiny amp close miced, but then the studio door open and a condensor around the corner and halfway up the concrete stairs cuz it sounded really good there - noticed as I was walking in from a smoke break when the guitarist was warming up. That's the key, play a bit and walk/crawl (on yer knees; you know at amp level) around and find the spot(s). Close mic is a safety in case the experimental room mic don't work out. Move the amp around, switch mics. Ribbons are as or more dynamic than your ears, also more bassy/plosive with early top end rolloff. LDCs and dynamics are less dynamic than your ears but do different things responsewise (e.g. the huge glassy top end of LDCs - can be brittle with cheaper ones - generally maximal extension at both extremes vs dynamics which vary wildly but often not so extended and will have an intentional mid character thing, boost or scoop). Also experiment with pickup patterns, for more room go omni (bonus, zero proximity effect so can stick it right up on the cab without mudding out and still get some ambiance vs 100% direct sound). Fig 8 (most ribbons, some LDCs etc) has the most proximity effect and you can use the nulls in the pickup pattern to avoid side reflections in narrow spaces or other sound sources if live jam - you can stick those further back to get your desired balance of direct from amp vs bounce off opposing wall/corner without losing bass response. Cardioids when the room sounds no good (too small/too reflective), either close or a bit further away with a cranked amp.


----------



## spacebard (Aug 1, 2009)

Chito said:


> I would suggest the e906 and not the e609. The e906 gives you a flatter response, smoother on the high frequencies and more transparent. Very similar mics though. The e906 goes on sale I think once a year. Both are better than the sm57.


I always looks at other Amazon sites. I bought 2 sennheiser e906 from Amazon Japan yesterday. They sell for 14949 yen , that's $170 CAD. Total was 33544 yens ($382) including shipping and import fees.


----------

