RE: "wired hot"

["G." <gigs@xxxxxxxxxxxxxxx>]

> Date: Fri, 21 May 2004 12:19:44 -0600
> From: "MLeFree" <mlefree@xxxxxxxxxxxxxxxxxxxxxx>
> Subject: RE: "wired hot"
>
> Once again G. has shared a wealth of knowledge, this time on my favorite
> mic', the Shure 545x:

Thank you.

> > Having a Shure 545 set up high impedance would mean one could use the
same
> > mic for playing both clean AND overdriven.
>
> Indeed!  This is one of the real practical advantages of the 545's.
> Another, for me at least, is that it is smaller in diameter and lighter
than
> my GB, and therefore easier for me to pack around  and to hold and cup all
> night long.  It's also nearly bullet-proof (no pun intended  ;) due to its
> stainless steel construction.

My only complaint with the 545 and the SM57 is the loose head - I've seen a
PE54 with the head ripped off accidentally and don't see how it could be
repaired easily.  For a while I put fabric tape around my SM57 to fix the
head in place - I've heard comments how this might affect the bass end of
its response - I'm not sure, and I haven't paid much attention to it - but
after
getting over the novelty of it, I ripped the tape off and used it for micing
amps
and recording, preferring the SM58 until this year.

> Mine's a 545SD and that on/off switch comes
> in real handy, too.

I paid NZ$150 more for my first SM58 so I could have the on/off switch.
Very handy.
But unless you buy second hand its cheaper to get an XLR on/off switch and
wire it into a cable.

> > But if I want both setups, I'd prefer to set up two mics seperately so I
> > can simply switch mics, and therefore rig setups without having to mess
around
> > onstage between songs.
>
> I'm unclear on what you mean by messing around onstage, G.

For a heavy distorted tone I would use a lot more gain, bring down the
master to accomadate the extra volume, and adjust the EQ to suit (eg. less
treble) and maybe add some compression.

For clean acoustic tone I would either mount an SM58 on a stand or cup the
mic in my left hand and run it straight through the PA, or if I want
something a bit warmer or use effects  (analogue echo, spring reverb) have
the amp setup for a clean warm tone and have to set up EQ and volume to
suit.

Swapping between these two settings requires fiddling with the gain, master
and EQ on the amp.  I'd much rather have two setups with two mics, and swap
between those rather than having to do a mini sound check everytime I needed
to change.   I'm well aware of other ways to go about this, but what I have
presently works for me.

> For me its a
> real advantage to be able to play the 545 tightly cupped (and hence
> compressed) or to back off a bit and play acoustically (I prefer playing
> with the mic on a stand; when I want to boogie Chicago style, I can remove
> the mic and cup it as usual.)  The 545 can honk and bark if I cup it
> tightly  to get that "proximity" effect or it can be played sweetly with
only
> simple adjustments in how I hold it; all in a single tune or even a single
note
> if I so desire.  It can be used (and is) to achieve a wide dynamic range
and
> broad tonal palette that I wouldn't otherwise know how to produce with
> only one mic.

Yes, as I say, the 545 is a very versatile mic.
But at the very least I'd still need to adjust the gain and volume of my
setup to go between a truely clean warm tone and rich Chicago distortion -
in that I drive the amp harder as well as relying on the mic's natural
distortion, while keeping the volume levels about the same.

> (The SM-57 is similarly versatile, but it doesn't quite have the
> honk that the 545 does when played compressed.)

As I say, I believe this has everything to do with the earlier 545's signal
level
when wired hot, the impedance convertors I've used can't bring the level up
that high.

> BTW, changing the impedance on a 545 is a three minute operation;
> something anyone who can use a screwdriver can do.

Full instructions are available here
http://www.angelfire.com/music/harmonica/shure545.html
And you may need a pair of needle nose plyers, or big tweezers.

> Michelle

- -- G.