[Harp-L] Jonesin for another mike

["Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>]

I own two mikes, one a late model green bullet,,Shure 520DX if I remember correctly, since the label is all worn off from usage,,and a Shure SM-57 beta,,the heavy-duty version of the SM-57 that is all metal, allegedly indestructible, and heavier than the black one.

I perform using the green bullet mostly, (as it has a handy volume control) and rarely the 57. I'm not entirely satisfied with either. They're both a bit heavy, and the green bullet is a bit bulky/large for my cupping preference. I'd feel better if I had a mike that is not as heavy as either of these, but still has the punch of the bullet. I've been considering the Butterfield style 545, but haven't yet tried one. The jury is still out on whether I care for dirty vs. clean, though I like what the bullet does. I wonder just how much the cupping technique has to do with break-up vs. the type of mike.

Any suggestions? 

Ought I try the smaller bullet-styles, like the blues blaster or J-45 styles, or is their a stick mike that some really seem to like?

I know it's not the mike, but the man,,but I'm looking for a mike. I'm just looking for something comfortable in my hands, that is a bit lighter and kicks ass. I want to spend my time concentrating on my playing, not on the mike, while I'm playing. I don't want my mike taking my attention away from my intensity and concentration on playing. When I play with the bullet, it works, but I find myself always stretching to physically cover the mike and seal off escaping sound and air pressure, which isn't easy with my medium-small hand size. (I've got about a 9" span from tip of thumb to tip of pinkie when fully open, with a closed hand length of around 7" wrist to tip of middle finger). When I'm playing with the 57, I'm constantly being drawn downward by the weight of the thing extending out forward from my hands. If I have to bow forward to keep the intensity, I will, but I'd also like to lean back at times if I wish and face the ceiling. To me, you seem to get a better sound if all the sound is captured by the hands, directing it, with the breath, in the direction of the mike cartridge, adding a kind of compression to the vibrating air column. Part of the reason for proper holding of the mike seems to be to get this right. 

I've read in recent threads that some have learned, or chosen to hold the mike cupped in both hands symmetrically (I forget the descriptive title for this particular grip). I find this technique both unfamiliar and unnatural to me personally. I've always held the harp, and mike, in the right hand, cupping with the left. This is the way I'm probably going to be holding the harp, and mike, leaving out divine intervention forcing me to do otherwise. I find this manner of holding most facilitates ease of movement back and forth on the harp, and I've been doing it this way for 40 years. 

Soliciting opinions, advice, expertise,,on the mike, not the grip. 

And by the way,,I'm using a small tube amp I picked up years ago in a used gear shop on the cheap. One knob. One jack. I love the tone, the break-up, and breakin up is hard to do (Leslie Gore?), uses a 5Y3, a 6N7 and a 6V6. Have no idea how many watts that gives, but it seems to drive the 6" Rola speaker just fine. Musical Electronics Incorporated, LA, made this mini-monster.

Bob