Re: [Harp-L] vocal mics

[Richard Hunter <turtlehill@xxxxxxxxxxxxx>]

Rick Table wrote:
<Richard Hunter wrote (words to the effect) bullet mics suck thru the P.A. (sorry for paraphrasing, Richard). I don't disagree with your point, however I'd like to hear your insight as to why. Is it something inherent in the design, elements, etc? Also, are you talking of playing mic-DI box-P.A., or mic thru the RP's w/your patch sets, or mic-effects pedals-P.A., or any and all of the above? If memory (huh?) serves me right, your mic of choice is the Fireball V, similar to an SM 58 w/slightly diff frequency response? Please understand, I'm not stakeing out a position here. Altho I've played thru the P.A in the past (both w/bullet and vocal mic and varying devises, including a harp commander) I've kinda found a niche for me, which is blues/rock thru a bullet w/few effects to a mic'ed amp--it's just about information--I listen to EVERY audio link posted here, whatever the genre, and am certainly not above stealing (or trying to steal) licks from any of it!!! Best!

The reason bullets sound lame through a PA is that they have a relatively restricted frequency response, which works well when supplemented with distortion from an overdrive tube amp, but doesn't work so well when it's presented on its own.  In other words, a bullet through a PA sounds dull.  

A DI box doesn't do anything to change an instrument's tone, so has no effect on what a bullet sounds like through the PA.

A mic through a Digitech RP or a set of effects boxes is NOT going straight into the PA, by definition.  The Digitechs and some other pedals like the Lone wolf Harp Attack, HOlmes Harp Commander, etc. use various techniques to emulate the effect of an amp on the mic signal. If there's ANY device between the mic and the PA except a DI, then you're not going straight into the PA.

When you ask what my favorite mic is, the follow on question is "for what?"  A mic is an instrument in its own right; it's the first thing in the signal processing chain.  I use the Fireball V most frequently, and I also use a Shure 545 SD and a Bottle o' Blues, depending on what sound and feel I'm looking for.  I play almost all of of my gigs--everything but the straight and narrow blues stuff--with the Fireball and the RP.  If I'm going to a jam, I bring the RP and the Fireball; if I get the opportunity to use the RP, I will, and if not I'll get a good sound with the Fireball straight into the PA, with less need to worry about feedback. I also use the Fireball for recording as a rule, because it works so well with so little setup effort--just plug it into the console and play.  If I want a sound with more grind from the mic in it, I use the 545 or the BoB.  I may try other mics in future; they all sound different, don't they?  

The Fireball does not sound like an SM58--the 58 has a big frequency bump around 10 kHz, and the Fireball doesn't.  The Fireball also has little or no proximity effect, the increased bass frequency response that occurs with a cardioid dynamic mic when the sound source is close to the mic diaphragm.  I've used an SM58 for acoustic harp sounds through a PA, and while it's not my top choice, it works pretty well.  Toots Thielemans always asks for an SM58 when he records, or so he said in a recent interview, so somebody who knows what they're doing likes it.  

A bullet with delay or reverb into an amp is of course a classic combination, one of the great harp sounds, so you're in good company if that's your setup. Like any other setup, it works great for certain material, not so great for other stuff. 

The ultimate test of any setup, of course, is whether it inspires the player and the audience, in that order.  So while I have very definite opinions on this topic, I'm not going to claim that it's impossible for someone to plug their bullet directly into a PA channel and get a "good" sound.  I just wouldn't do it myself if I had a choice.  

Regards, Richard Hunter

author, "Jazz Harp" 
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