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Gear / Technical Help => Microphones & Setup => Topic started by: BC on January 17, 2005, 01:23:37 PM
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Been listening to GD 4/11/82 Nassau: Jim Wise - (9th row - center) Senn 421's > Sony TC D5, sounds very clear and detailed but there is very little low end on the tape, I have to playback with a lot of bass boost for this one to sound satisfying to my ears.
This is one of the first tapes I have heard on these mics, I was just wondering if the bright sound is considered to be a general characteristic of the 421's?
Take care,
Ben
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I'm listening to Jim's 82 red rocks fob tapes and feel the same way....
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they are dynamic mics, and it would take an incredibly loud show to really be entirely fulfilling.
My JGB 421>D5 master from Irvine Meadows in '84 has a nice warm feeling to John Kahns bass, which was out of the norm for JGB. I was always left with an "I wish i could have heard more of Kahns bass" in most of the live performance that I saw.
add to that the frequency limitations of cassette tape...
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Sennheiser 421's are great sound reinforcement mics in my opinion. Not neccesarily good for audience recordings though. Although there are many Senn 421 Grateful Dead tapes out there from the 1980's. The best ones are FOB.
I even made some SM57 tapes in the 1980's...
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I always loved the 441's when I was doing sound reinforcement.... what a wonderful mic that was. Never used one of the 421's though....
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421 is an omni? I always thought that it was directional too
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gotcha...
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I always loved the 441's when I was doing sound reinforcement.... what a wonderful mic that was. Never used one of the 421's though....
That's opposite of my experience. I know some guys used to use the 441's on the lead vocalist, and ocassionally on a drum or two and sometimes on brass instuments. I used to see way more 421's being used. Back in the 1980's Dan Healy used the 421's on everything for the Dead, including vocals for a while.
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and you can use them (421's) to pound in tent stakes in the camping area, and still be fine for recording later that evening.
Yeah...
They can definetely take a good wack from a drum stick and not even flinch. A mere SM57 will be in pieces, crying to be put out of it's misery and the 421 will just laugh and keep sending out a good signal. ;D
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Chuck, my experiences were from about 200-2002.... the 441's sounded really nice on a bunch of different drums and bass instruments, never tried them on vocals though
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they are dynamic mics, and it would take an incredibly loud show to really be entirely fulfilling.
My JGB 421>D5 master from Irvine Meadows in '84 has a nice warm feeling to John Kahns bass, which was out of the norm for JGB. I was always left with an "I wish i could have heard more of Kahns bass" in most of the live performance that I saw.
Just finished watching Grateful Dawg (agin)... waxing nostalgic.... and wishing I could hear John's Russian Lullaby solo again.......
Wow, does Sennheiser make mics, too ? ;D
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they are dynamic mics, and it would take an incredibly loud show to really be entirely fulfilling.
My JGB 421>D5 master from Irvine Meadows in '84 has a nice warm feeling to John Kahns bass, which was out of the norm for JGB. I was always left with an "I wish i could have heard more of Kahns bass" in most of the live performance that I saw.
I was listening to a copy of this on the way to work this AM and thought there was a fair amount of bass for being 421's...crisp highs w/ some low end too...nice job Moke!
normally the 421's are a little weak on low end compaired to what we have for mics today.
so being in the 9th row did help 'em a bit ;)
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The 421's are a LD card. They also have a 5 position bass rolloff on the body next to the xlr connector. When i was using them to tape dead shows, i rolled them off 1 click from the linear position. tapes still had plenty of low end, even with cassette. You could also run them in the pouring rain with no problems other than funny looks from people. I also prefer them over the 441.
Coop