To be honest I've never heard a demo of the SM57 where I would like it and this is no exception, it has that really "cheap" fizz to it. The Sennheiser sounds more natural and "meaty". Excellent demo as always btw and one I was really interested in.
sometimes what sounds like a "cheap fizz" in isolation can be the high-end cut needed to stand out in the mix. not always, of course. I have both mics and have had fun mixing and matching them on my v30 and g12h creamback 2x12. I gravitate towards the 57 on the v30 and the 906 on the creamback, because I think those combos compliment each other well, but its all relative.
Since it is a passive mic with passive electronics, I think that the e906's natural sound is actually the "presence boost," and that the "normal" and "presence cut" actually use lowpass filters... So take that for what you will. You can add lowpass filters to the SM57 as well and the SM57 is half the price. A fairer comparison would be with the e609.
Very good video, aside from adding some bass in the 1st clip, I can hear the difference. The SM57 Frequency Response is 40Hz-15kHz, the e 906 Frequency Response is 40Hz-18kHz, and I can clearly hear a deeper rumble from the e 906 with extra 10Hz of low-end headroom. The SM57 is the king of rock guitar mics for a reason. I personally have these two mics and believe it or not they "MARRY" beautifully as you did as 5:50. I point both mics at the same speaker, (Celestion G12K-100) the e 906 dead center to the dust cap, the SM57 where the dust cap edge joins the loudspeaker.
They sound good together. But alone, for these types of tones, I'd probably choose the SM57 here, suprisingly. I like the e906 on the traditional Vox AC30, Plexi & Fender Deluxe Reverb tones. You can set the mic nice and flat for the Fender, or for the Vox, you can tame the treble, and for the Plexi I might steer clear of adding any extra bite from an SM57. Sennheiser MD421s and Beyer m160s are my favourite, though. But they're often tied up on drum duty. An e906 paired with a Cascade Fathead is nice too, the Fathead is nice and full, but you can bring in that natural openness, clarity and dynamic range of the e906 to taste. A Royer R121 would be nice for Fender tones, if I had that kind of budget. But an Extinct Audio BM9s seem similarly nice, and might be achievable, at half the price.
The comparison is a lot closer than I expected. Stock, the sm57 has a little more fizz/grind. The e906 can have less fizz, but also sound less "open," unless you presence boost it. Honestly, at least from this clip, moving the mic might make bigger difference 😂. It's also possible that despite both mics being placed on the same spot, that the placement isn't exact.. I also think the 906 had more sensitivity, and despite any sort of level matching etc., there will be differences in sound just because of that. But yeah.. They're closer in sound than I expected.
906 is a great cheap mic, sits up against the cab nice and easy and captures the speaker very well as your video demonstrated 🤘🏻 I like combining with the 57 and blend, I also use a sm7b. V30 sm57 Dv77 906 Gt12 75 sm7b (just for additional flavour sometimes) Awsome video once again! Thankyou
sm 57 is just slightly more clear and has the sizzle but the 906 has a better bottom end for me it is also somewhat scooped sounding I think a blend of them captures everything and eq can remove what you dont like
You can use it for vocals without issue, just use a pop filter with it. I, and a LOT of other people use the SM57 are their vocal mic and honestly it can sound quite great! ^^
I think for the reasons you mentioned the e906 is a better reference mic to start with on a cab and then compare with other mic’s… and then you can hit boost or cut on it to compare with brighter or darker mic’s also. The sm57 is not as flat or versatile as a reference mic, even though its what everyone uses as a reference. Plus the e906 is physically more usable in tight spaces… i think overall sennheiser improved on the sm57 here
I see what you're saying as far as it being neutral, but the reason it is used as a reference is because it's an overwhelming standard. Perhaps 80%+ of anything recorded anywhere or played on any stage anywhere is done with that mic. Almost everyone has one and knows what it does. Idk.. Maybe an earthworks reference mic should be used for a super flat point of reference.
@@MetalHeadProductions Thanks man, sounds logical but I wonder why the Fredman technique 'requires' a single stereo track as opposed to two mono tracks?
Jorge A. The 609 has exactly same capsule inside only difference between the two is that E906 has the additional high pass filter and low pass EQ. one is £77 brand new the other one is twice the price of 609 to me warrant actual use of spending money on another mic when SM57 has been longest standing on used. My source is I’m guitar player in spare time an I do FOH Audio as well employed full time Stage Technician at independent venue.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
My favourite channel. Can’t believe you do t have more subs.
I quite liked both together. Seemed to fill out a lot more
To be honest I've never heard a demo of the SM57 where I would like it and this is no exception, it has that really "cheap" fizz to it. The Sennheiser sounds more natural and "meaty". Excellent demo as always btw and one I was really interested in.
sometimes what sounds like a "cheap fizz" in isolation can be the high-end cut needed to stand out in the mix. not always, of course. I have both mics and have had fun mixing and matching them on my v30 and g12h creamback 2x12. I gravitate towards the 57 on the v30 and the 906 on the creamback, because I think those combos compliment each other well, but its all relative.
@@DirkDjently This. People take things alone by themselves, but in a mix it's a whole other game.
The Fredman technique is said to cut out a good portion of the fizzyness to the phase differencen in the two mics. Try it out!
Since it is a passive mic with passive electronics, I think that the e906's natural sound is actually the "presence boost," and that the "normal" and "presence cut" actually use lowpass filters... So take that for what you will.
You can add lowpass filters to the SM57 as well and the SM57 is half the price.
A fairer comparison would be with the e609.
The SM57 sounds clumsy alone on guitars but in a song mix it’s great.
Very good video, aside from adding some bass in the 1st clip, I can hear the difference. The SM57 Frequency Response is 40Hz-15kHz, the e 906 Frequency Response is 40Hz-18kHz, and I can clearly hear a deeper rumble from the e 906 with extra 10Hz of low-end headroom. The SM57 is the king of rock guitar mics for a reason. I personally have these two mics and believe it or not they "MARRY" beautifully as you did as 5:50. I point both mics at the same speaker, (Celestion G12K-100) the e 906 dead center to the dust cap, the SM57 where the dust cap edge joins the loudspeaker.
The king of metal gear reviews is back!
They sound good together. But alone, for these types of tones, I'd probably choose the SM57 here, suprisingly. I like the e906 on the traditional Vox AC30, Plexi & Fender Deluxe Reverb tones. You can set the mic nice and flat for the Fender, or for the Vox, you can tame the treble, and for the Plexi I might steer clear of adding any extra bite from an SM57. Sennheiser MD421s and Beyer m160s are my favourite, though. But they're often tied up on drum duty. An e906 paired with a Cascade Fathead is nice too, the Fathead is nice and full, but you can bring in that natural openness, clarity and dynamic range of the e906 to taste. A Royer R121 would be nice for Fender tones, if I had that kind of budget. But an Extinct Audio BM9s seem similarly nice, and might be achievable, at half the price.
The comparison is a lot closer than I expected. Stock, the sm57 has a little more fizz/grind. The e906 can have less fizz, but also sound less "open," unless you presence boost it.
Honestly, at least from this clip, moving the mic might make bigger difference 😂. It's also possible that despite both mics being placed on the same spot, that the placement isn't exact.. I also think the 906 had more sensitivity, and despite any sort of level matching etc., there will be differences in sound just because of that. But yeah.. They're closer in sound than I expected.
906 is a great cheap mic, sits up against the cab nice and easy and captures the speaker very well as your video demonstrated 🤘🏻 I like combining with the 57 and blend, I also use a sm7b.
V30 sm57
Dv77 906
Gt12 75 sm7b (just for additional flavour sometimes)
Awsome video once again! Thankyou
In Europe, the 906 costs almost double the amount.
I think you are mistaking for the the e609.
Depending on where you buy, the e609 is around $100, but the e906 is about $200.
_I definitely like the E906. 🎤🎵 Hoping it’s my next mic._
I have both. In my testing I noticed the E906 is louder than the SM 57, did you had to adjust the gain on the interface to match volume?
Honestly can't remember
Knew would blend them 🤤🤘
The E906 is too low-mid heavy for my taste. I prefer the SM57. It has more grind.
sm 57 is just slightly more clear and has the sizzle but the 906 has a better bottom end for me it is also somewhat scooped sounding I think a blend of them captures everything and eq can remove what you dont like
holy shit they're similar
Is this a microphone specifically for instruments? Or can you use it for vocals as well?
You can use it for vocals without issue, just use a pop filter with it. I, and a LOT of other people use the SM57 are their vocal mic and honestly it can sound quite great! ^^
I think for the reasons you mentioned the e906 is a better reference mic to start with on a cab and then compare with other mic’s… and then you can hit boost or cut on it to compare with brighter or darker mic’s also. The sm57 is not as flat or versatile as a reference mic, even though its what everyone uses as a reference. Plus the e906 is physically more usable in tight spaces… i think overall sennheiser improved on the sm57 here
I see what you're saying as far as it being neutral, but the reason it is used as a reference is because it's an overwhelming standard. Perhaps 80%+ of anything recorded anywhere or played on any stage anywhere is done with that mic. Almost everyone has one and knows what it does.
Idk.. Maybe an earthworks reference mic should be used for a super flat point of reference.
For your amp/tone the SM57 was the winner... it picked up the deep 'growl' much better.
When mixing them together in a single stereo track, should I pan them both in the centre or left/right?
Pan L and R, although, I would have a track of each mic panned L and R then I would mix them to taste.
@@MetalHeadProductions Thanks man, sounds logical but I wonder why the Fredman technique 'requires' a single stereo track as opposed to two mono tracks?
@@padraig88 idk if it necessarily requires it, but that may consistently yield the best results.
@@MetalHeadProductions It would require something like the Radial 2:1 though so definitely not in my current budget for a black metal demo lol
0:48 you say 'E906' instead of 'E609' 😁
These names are really confusing
yeah, oops, haha
Jorge A.
The 609 has exactly same capsule inside only difference between the two is that E906 has the additional high pass filter and low pass EQ.
one is £77 brand new the other one is twice the price of 609 to me warrant actual use of spending money on another mic when SM57 has been longest standing on used.
My source is I’m guitar player in spare time an I do FOH Audio as well employed full time Stage Technician at independent venue.
@@jamescourt2842 I know that
But he meant to say E609 and got confused
5:14
5:23
5:31