[Harp-L] What a difference a mic makes, part II

[Richard Hunter <turtlehill@xxxxxxxxxxxxx>]

A little while ago I posted a message to these lists about a few recordings I'd done using my RP500 with a Gibson GA-40 amp model patch and three different mics: an Audix Fireball, a Shure 545SD, and a Bottle o' Blues.  The clear conclusion from those recordings is that if you want maximum blues, you use a mic that's traditionally used for blues.  You can hear those samples at:
http://www.hunterharp.com/what-a-difference-a-mic-makes-part-1/

Harmonica players play more than blues, and I've put up a new post that features the same three mics with some very different sounds on the RP500: a rotary speaker sound, and two variations on a sound with a prominent chorus effect, with and without a long delay line.  You can hear these samples at: 
http://www.hunterharp.com/what-a-difference-a-mic-makes-part-ii/ 

Short summary: the mic that sounded so great with straight-up Chicago blues turns the delicate tones of a harmonica chord with a sweet chorus effect into a big, distorted mess.  The rotary speaker patch, which produces an organ sound that many harmonica players would like in their kits, has a gorgeous sheen with the Fireball, and a tougher rock and roll sound with the 545SD. 

Check out the recordings for yourself.  The big message here is: different horses for different courses.  Fortunately, changing the mic is a relatively cheap way to get a new sound for your rig.

Regards, Richard Hunter


author, "Jazz Harp" (Oak Publications, NYC)
Latest mp3s and harmonica blog at http://hunterharp.com
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