"It really is important to have the right Amplifier-Microphone pairing. I can’t stress this enough. Most players have a couple amps (one big, one small, maybe a few in-between if they become addicted to amps like I do), and will notice all “good” mics don’t sound good with all amps. This is the first thing to keep in mind."
That's from Dennis Gruenling, from his website, badassharmonica.com
If you're lurking, DG, don't jump on me for quoting you.
I've found this to be true. My '62 Fender Concert likes my Shure PE585 and Astatic JT30. My '95 Fender Blues Deluxe likes my Shure 520DX (yes!) and Turner Balladier 766.
Anybody else notice certain mics work with certain amps? Give your examples.
I have observed the mic/amp/speaker matching issue for years. Currently my favorite mics are my Shure 585AV and my Astatic Biscuit with a CM element. My 585AV usually can get the most volume before feedback out of an amp of any of my mics, but unless the amp/speaker combo is ready to break up easily, it has a more clean distorted sound, but good. My Biscuit with a CM element is needed to get a good distorted sound out of a tube amp that is slower to break up, but it sounds too fuzzy for my taste with amps that break up easily. I also have used an EV630 with some success, a Turner 22X w/ceramic element that can sound good with the right combination, a small Turner dynamic lavalier mic that really distorts and is ready to feed back if you turn up, an SM57 w/transformer that can sound good, a Shaker dynamic that breaks up all on its own but can give an interesting sound with the right amp at lower volumes, and an Audix Fireball V with transformer that is really clean. Unless the amp breaks up a LOT on its own, the Fireball V remains very clean, but warm with any tube amp.
Every so often, when no one is around, I close windows and doors and spend a few hours mixing and matching mics and amps and also speakers. There are some mic/amp/speaker combinations that are best and the easiest to get good results.
After messing with my gear A LOT I found that each of my amp/speaker combination works best with certain mics. The only way I know to find what works is to keep trying different combinations.
I have used one of Greg's wooden bullet mics with a 4x10 Super Reverb and at another time with a Blues Junior when sitting in, and that mic was good with both of those amps. ----------
Doug S.
Last Edited by dougharps on May 29, 2015 11:41 PM
Wolf, you are absolutely right. didjcripey raises a very important point. You don't need the hottest element available. High wattage, high gain amps, (Super Reverb) will be more controllable with less input signal (lower impedance). Low gain amps (52 Gibsonette) need a hotter signal (higher impedance) Bright amps (Silvertone Twin 12) want a fatter sounding mic. And Visa-versa. As with speaker choices, there are endless combinations. Also, what sounds good at home may not work on stage...BN
Anybody want to buy a Super Reverb, Pittsburgh area.
"...there are endless combinations." Yes, and the only chance I know to sort them out is to organize a session with players and their gear. If 4-5 players meet with a couple amps each and their favorite mics then they can share combinations. Otherwise I don't think you can really no nearly what you need to. Even then it's the difference between elements.
Effects boxes could be included in this discussion as well. When I make pilgrimages to stores that have vintage amps I want to try, I always take my main mics and effects boxes with me. Everything in the loop effects ( pun? ) the sound. That's why gear reviews/discussions online always come with a caveat.
I'm following this thread with interest as I'm only just stating down the road of amplified/electric harp. How did the old timers ever manage. As far as I can tell on many occasions they just turned up and played through what was available, and still managed to sound great. I'm starting to think it might be a bit like electric guitar, about which I know a lot more. Thousands and thousands of pounds are spent trying to buy a sound, but it doesn't work. Once you've got your sound you can get it most anywhere, anytime, and by and large with whatever equipment is to hand. I'm thinking mics and amps are the same. Once you've got your sound it's there, end of. Certainly some mic and amp combinations might make it easier to dial it in, but no more than that.
I think it is best to take the advice of all the guitars players out there (not directed at you Gipsy) who seem to be experts on all things harmonica. Or just go ahead and buy yourself any random bullet mic and a Blues Jr.
@Thievin Heathen. No offence taken. However you still haven't addressed my main point. How did the old timers ever manage to get wonderful sounds using any old mic that was lying about, and any amplifier or PA that was available? I'm tending towards believing that the player is the defining feature and not the equipment used.
@Kingley. Thanks for that. It would tend to confirm what I thought, I.e. good musicians and good musicianship is the prime factor. @1847. A very good point, well made.
for any given player the mic/amp/speaker/placement and room will all impact the amount and type of distortion, and the volume that can be achieved with any given amp, and that will all impact the sound that an audience hears.
Yes, a great player will almost always sound good regardless of the gear, and a poor player will seldom if ever sound good regardless of the gear.
Each of us can continue to improve our sound, but that does not rule out experimenting with gear to learn how to best use it for our sound.
These days most of my playing is through the PA, with no distortion or effects except occasionally a little bit of reverb. Usually no effects.
I still have learned a lot by matching gear, and when needed I can use it to get the best sound I can. I think that a discussion of this is useful and should not be dismissed based on the often cited "tone is from the player" line. Of course it is from the player!
Learning to make the most of gear is important, too. ----------
Yes, 1847. You are spot on. Those old PA amps were powerful, simple and set up for the human voice. A Lets not forget the high impedance mics that were everywhere. Those amps created the "Classic" tone we all know. There were no horns or high gain amps. The good fellows knew how to get the thunder from those paper speakers. It's all in the soul.............
I played with a 57 through a champ that was miked into a PA for years in the 70`s ,it was great,now I use a 545 with a thing greg makes ,that attaches to it ,through a 210 music man ,cranked up and it sings.it`s good that there is some body out there making this stuff.
