I’m not particularly good at micing up cabinets but with the 57, my guitar tone sounds good no matter how bad my placement seems to be (slightly off center damn near touching grill). I tried so many ways to get bass decent on it but the 52 just worked without effort. I’m sure an expert could probably get the 52 to sound decent/good but for the rest of us, just use a 52. Don’t have a 58 so can’t comment on that but I doubt any Shure mics are bad.
Slightly off center and almost touching the grill is pretty standard placement for micing a cabinet, I think! I usually try to make a tangent line between the 57’s capsule and the cone of the speaker.
I’m right there with you about the B52 on a kick drum — that’s definitely my preference too unless the kick drum doesn’t have a port, in which case I usually go for a D112.
One could mic an entire band using just 58s and 57s, if push came to shove. Live sound can be a weird thing lol
I miced up a drummer for home recording using cheap Fender conference mics that came with the fender PA. It’s all she had. It technically worked but I ended up having to overlay the kick and snare with samples in the DAW to make it sound decent. I’m the sound and recording guy for a few local bands as I’m their only free option (I’m in them). One of these days I swear we are going to have something worth “real” recording and use a studio. Until then, I improve slightly every time I work through these things.
I’m not particularly good at micing up cabinets but with the 57, my guitar tone sounds good no matter how bad my placement seems to be (slightly off center damn near touching grill). I tried so many ways to get bass decent on it but the 52 just worked without effort. I’m sure an expert could probably get the 52 to sound decent/good but for the rest of us, just use a 52. Don’t have a 58 so can’t comment on that but I doubt any Shure mics are bad.
Slightly off center and almost touching the grill is pretty standard placement for micing a cabinet, I think! I usually try to make a tangent line between the 57’s capsule and the cone of the speaker.
I’m right there with you about the B52 on a kick drum — that’s definitely my preference too unless the kick drum doesn’t have a port, in which case I usually go for a D112.
One could mic an entire band using just 58s and 57s, if push came to shove. Live sound can be a weird thing lol
I miced up a drummer for home recording using cheap Fender conference mics that came with the fender PA. It’s all she had. It technically worked but I ended up having to overlay the kick and snare with samples in the DAW to make it sound decent. I’m the sound and recording guy for a few local bands as I’m their only free option (I’m in them). One of these days I swear we are going to have something worth “real” recording and use a studio. Until then, I improve slightly every time I work through these things.