Stay tuned for the Heumann vs Ricci lawsuit where Greg accuses Jason of single handledly destroying Bulletizer sales. Just kidding.
I took the Bulletizer off my Ultimate 545. I like the method that Jason shows, but I'm a little nervous bout the mic grille twisting off. I heard there was a fix for this from Greg?
Cool, I will have to give my 57 another try. I get a lot of handling noise from it but I never actually ever saw anyone show specifically how to hold one before. ---------- ----------
I hold mine the same way Jason does. Always have as it just kind of made sense to do it like that.
Stevelegh - Yes there is a fix, but I wouldn't worry too much about the grill twisting off. It's never happened to me yet and I've been cupping SM57's and 545's quite a lot over the last twenty years.
@stevelegh - there is no danger of the grill twisting off. It is designed to "float" like that.
One of the primary reasons I developed the Bulletizer is that when I try to cup a stick mic like the 545 or 57, and hold it as Jason shows - no further forward in your hand than the pinkie and ring finger - I find that after a while the big fleshy muscle in my palm between pinkie and wrist tends to cramp up. The Bulletizer provides an intermediate grip size between stick mics and bullet mics. It isn't necessary for tone, but it can help beginner/intermediate players with tone as well.
Thanks for your replies. I'm inclined to put the Bulletizer back on as it does feel more stable, but I do like the hanging feeling that Jason showed. As I don't gig with harp I don't need to worry about the fatigue Greg has mentioned.
I do seem to remember a post on here where someone loaned a 57 style mic at a gig and the guy twisted the top off it. Am I imagining things?
I'll let you know how I get on.
Last Edited by Stevelegh on Jun 09, 2013 11:24 AM
The grill on an SM57 rotates/floats freely on top of the actual element, by design. This is to reduce the transmission of bassy handling noise to the element. The grill is removable but it takes practice - there's a spring clip inside the lower circumference that holds it on. You have to put a hole in the label tape to access the spot where the ends of the spring clip to get it off. You would have to be REALLY rough on one to pop the grill off by accident. ---------- ---------- /Greg
I held my 57 the similiar way before it started sounds like crap. BTW I think that there are much better mics than 57, e.g. Electrovoice, Beyerdinamyc. ---------- Excuse my bad English. Click on my photo or my username for my music.
Nobody has stated the very obvious solution here, why not use a mic stand??? Even with a volume pot you can orient the mic to fit and have both hands free for effects.
I'm like Greg, my hand gets tired holding a stich mic all night. Even sitting diown which I usually do, there is an extra fatigue. I also am not shy to mount a bullet or my greg-customized m43u mic on a stand for the same reason. I've also found that with the mic in 1 place it's easier to attain and keep the "sweet spot" between good volume and tone and avoiding any feedback zones on a given stage. ---------- http://www.reverbnation.com/jawboneandjolene
@Jbone - nothing wrong with a mic stand if you simply want to amplify your acoustic technique. If, on the other hand, you want to exercise what your amplifier brings to the picture (see "Crunch"....) then you must hold the mic inside your cup. Two very different techniques, both important and valid. ---------- ---------- /Greg
i use crystal sticks i hold them like that in the pinkie and ring curl. i use a stand too sometimes i use two mics one in the amp and one for singing in a stand and blow through both using hand wah effect so i have acoustic wah.
another vote for the bullitizer... if you also play bullet mics, then the muscle strength (yeah it is pretty light but after a couple hours it does matter to me at least) and the technique are more similar between them.
All that said jason, great vid, it makes the point about cupping crystal clear..
I think one of the things people miss is simply looking at their cupping technique (e.g. no harp look at your hands on the mic, and then with harp) and being certain you know where the holes are, and doing what you can to cover them up
