Sennheiser e900's

CURLS

Member
Well some of you may know me, some may not. But, I have went from theatre to live audio. Mainly I mix monitors for bands in one-off situations.

Today I had the privileged opportunity to mix with a Sennheiser endorsed band (astray from our normal mic kit packages). I just wanted to give a quick evaluation of what I thought of a few of the mics I got to use. I have previously used Sennheiser wireless products for applications in the theatre regarding wireless lav's as well as IEM's, as well as the 600 seriers microphones.

On the kick was a 901; I was fairly impressed with its tailored ability to jump right into a good sounding mic. Not to mention the guy could actually tune his drums, but all in all it was good. I would almost say it gives the 602 a run for its money...

Snare was a 905; it seemed to have a good midrange thump crack sound that I like but didn't quite have those tailing hi's that good ol' 57 lends me. All and all I left the channel strip flat.

The toms had 604s, and the opener had the big brother 904's interestingly enough I think you know who won that battle. BUT, I would buy the 904's they sounded pretty comparable.

There was a 602 on the bass, but I never use a bass mic so I cant tell ya how that went. Nor the 914's on the overheads, they don't lend me anything either.

GtR's had the 906's on them they seemed a tiny bit muddy, wouldnt hesitate yankin one of those for a 57, they seemed to lack high end definition.

On to the main part of my story!
I got the extreme pleasure of getting to use what if I remember right to be a E935. Ok don't get me wrong I really like Sennheiser stuff, like MKE2's and G2 wireless ears. I'm just not sure how this thing got a TEC award.

So I plug this thing in start ringing it out, and next thing I know im pullin some funky high end cuts all over the place. Let me put it this way I would have rather used the PG shure series in which I have only used once over this thing. I darn near begged to plug a 58 in instead of this thing in which I used for the opener. Words coming from the openers lead singer, "Sounds Great, can ya turn it down just a lil bit." If only the lead singer of the other group heard what a standard vocal mic should sound like. Well couldn't get the pleasure to do that b/c they strapped a bullet cam to this guys mic too. That should explain it right there. Ya, too bad they strapped that thing to a Vdosc rig, good thing I didn't have my L-acoustics Hi-Q's there cuz i dont think they would have wanted to reproduce that. lol

Anyways enough ramblin. Just though I would share my loveliness and not soo good of the Sennheiser low end mics.
 

Eboy87

Well-Known Member
Strange, I've always had good luck with the E935 and 835. True, they're not the most expensive of Senni's mics, but I think they sound better than the comparable Shures. Granted, I've never had to deal with them in a monitor situation, only at FOH. I've always had to finesse them, but they've always been good to me.

EDIT: I've never used a 609 on a guitar cab. I've put a 421 on 'em before, and it sounded way better than a '57. Though the Hold Steady last night had 609 silvers on guitar, and it sounded good.

*Above statement coming from FOH.
 
Last edited:

audioslavematt

Active Member
That beats the hell out of an old RAMSA 840 and 222s (the RAMSA, not the 222s) in a rodeo arena on dirt. Not a fun weekend. This one should be better though. Would ya call in a favor for me and make sure we get the newer VERTEC boxes this time around? Last time, some of the older hardware didn't want to cooperate.
 

CURLS

Member
eboy i think ur right, the prosumer or slightly above vocal mics probably do cut through quite nice in a front of house rig.. i dont think ive ever used a 421 on a gtr cab(never been that desperate for a mic, mbe ill have to try it sometime) although 421 on kik tonite sounded halfway decent -180 phase. yea 609's also go good on toms too. never tried the silvers cant wait.


haha matt im not in the shop much err this week. besides it was already prepped. nonethe less we just grab the next ones in the row!!! haha. a lot of times if u pick up on the bottom and move them up and down quickly it helps along with a flat surface(nevertheless i can fly vertec faster than any loudspeaker). im hoping u didnt have to do it on uneven rodeo dirt. although hell yea id rather be at a rodeo ohhh lord no fun on the 222's and quite embarrassingly never got to play on the old ramsa's lol
 

audioslavematt

Active Member
I like the 222s. They're easy to get screaming in a hurry. That **** RAMSA was making my life hard though. For some reason, it liked to drop mixes. Needs some TLC or something. We took our proprietary boxes out to that rodeo though. That would have been a miserable time setting up VERTEC. Set up is a challenge when your help consists of a bunch of cowboys. When the whole VERTEC thing got dumped in my lap, I figured out a few tricks pretty fast, especially pertaining to the top box and flybar.
 

CURLS

Member
yea 222's are really fun for raging rock bands just in ur face in a hurry. setting up a vertec rig isnt that bad w/o hands ive done it with me and 2 super hott lifeguard volunteer stagehands before( not cowboys i know) but it was wayyy more fun. hell u can set up a huge vertec rig by urself if ur patient. yea attachin the flybar isnt all that hard
 

CURLS

Member
just for shits and giggles ill put up a pic of some random ass picture some guy snapped of my console during a performance.
 

Attachments

  • 1117072030.jpg
    1117072030.jpg
    35.6 KB · Views: 173

TimmyP1955

Well-Known Member
I've used the 835 and 845, and will take either over a 58 anytime. I like the 604 on toms, but don't care for the 602 on kick - at least not for rock kick. I'll take a 609 or 906 over a 57. (I've never cared for the SM57/58 - their pattern is too wide, and they require too much EQ compared to many others.)
 

Users who are viewing this thread