best type of vocal mic for singing players?

We use several mic makes and models, but I also have four SM58s, two of which date back to the late 70s. They all perform perfectly. As one sound man said years ago,"You can hammer nails with these things then use them to play the gig." Yup.

Oh, BTW . . . you move in and out of the mic field to adjust for vocal dynamics. Whether you move your head or you move your mic, doesn't make a whole lot of difference.

[tdubbed]

Originally Posted by KevWind

Yes basically, there are a number of things to learn but very generally speaking the more powerfully you are singing the further away from the mic you can be (to a point) and of course the sensitivity of the particular mic will dictate how close and or powerfully you can sing and not overload or distort in general and on plosives.

So things to consider are how proximity effects the particular mic, in relation to your singing style.
In general the closer you are the more intimate feel but the easier to distort or get hyped plosives. For example a technique which can allow you to be very close and intimate and not have plosives distort is to slightly dip your head while singing the plosives

Awesome advice.

And a thought about your previous post. First just because some pro uses a particular mic is not really a good reason to buy it . Pro's use all kinds of mic's from less than $100 to over $3k and everything in between.

The only reason this helped me is because it made me realize that a $100 dollar microphone would do the trick. Sure, someone can tell me this, but when I see an amazing performance from someone who makes a living doing this, it sure does help.

Also I don't know why people would "dispute" the popularity of the SM 58. There are three main reasons it is so popular, one is because it is built like a tank and will take the rigors and abuse of "the road" and keep working for years and years. Then there is fact that it is excellent for not picking up off axis sounds, so it works very well in a band situation on a tight stage, and coupled with the fact that it is a dynamic and does not require phantom are arguably the "reasons" it is so popular.

I think the people who dispute this are just being snobbish. At least, that's what their epically long posts about "how terrible a SM58 is" sound like. I happen to think it's great.

[tdubbed]

Originally Posted by A-Mac

We use several mic makes and models, but I also have four SM58s, two of which date back to the late 70s. They all perform perfectly. As one sound man said years ago,"You can hammer nails with these things then use them to play the gig." Yup.

Awesome. Still kickin'. I did see a video where they dredged one through ocean waters and it still worked. I think they ran it over with a truck as well.

Oh, BTW . . . you move in and out of the mic field to adjust for vocal dynamics. Whether you move your head or you move your mic, doesn't make a whole lot of difference.

Ah, gotcha!

[Wyllys]

As a sound provider I have over 100 mics in my locker from which to choose.

The "standard" Shure mics probably get the most use: known quantity, best average response, etc.

In the 90s a band I was with opened for many of the national country acts who hit town, and we used their PA. Sometimes it was a sound crew traveling with the band, often local contractors, but the vocal mics I saw at that time were all SM58s. Everyone of them.

As an aside, as the bass player I plugged in to a DI box. In every case it was the much maligned Imp II.

[YamaYairi]

I use an Audix OM-5. I really like the way my voice sounds through it.

[Goat Mick]

You really can't go wrong buying an SM58 period. It sounds good and will last forever and will be your most dependable piece of equipment. That being said I own an SM58 and always carry it with me but I sound better through my Senheisser e835. If you heard me through the SM58 you wouldn't think anything was missing but if I switched to the e835 for the next song you'd go "oh there it is". Make sense?

[Laughingboy68]

I think the OP was questioning whether a cardioid mic was best for stage use. It seems he might be worried about turning his head away from the mic to look at his hands. The short answer is that you can't really do that if it takes you away from the mic's sweet spot. Omnidirectional mics or large diaphragm condenser mics, while perhaps more sensitive or natural sounding, are also much more susceptible to feedback.

I've used SM58s, SM57s,e835s, AKGs and Audio Technica mics on stage, and while all have been great mics - my personal favourite is my Heil PR35. It's sensitive, full sounding, has a great bass resonance and doesn't sound strident when high notes are hit. I can sing better when I use this mic and really miss it when I can't.

I think it's a great idea to try mics before you buy them, but I've rarely done that myself. I do know that not every mic that works for me is going to work for someone else.

[lkingston]

There are some really great mics. My current favorite is the Shure Beta 87a, though I also have some Beta 58 mics. The 87 needs phantom power and sounds much like a Beta 58 but with just a little less midrange mud and added clarity. The differences between a Beta 58 and a regular 58 are that on the Beta 58, the windscreen. Is case hardened steel, the magnet is neodymium for slightly higher output, and it is more insulated against handling noise.


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[lkingston]

Also, the Beta58 is more directional. This can be good or bad. More directionality rejects feedback a little better from a line array behind you (like my Bose L1), but some with regular monitors might like the more relaxed polar pattern. That is preference depending upon your application.


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[Long Road Home]

Originally Posted by Crimson Dave

I've always used Shure SM58s for vocals. They are rugged, have predictable characteristics and have good sound quality. That said, I am currently using a Sennheiser e935 and I love it. Just seems more articulate and crisper than a 58. Kinda hi-fi.

I A/Bed the Shure SM58 and Sennheiser e935, and chose the Sennheiser for the same reasons as Crimson Dave (for my baritone/bass range), although Shure's are certainly very good as well.

[SpruceTop]

Let's get a little loose and wild with a recommendation! The Edwina from Ear Trumpet Labs is a cardioid, large diaphragm condenser mic that's good for close mic'ing (1-inch to 18-inches), and beyond for wider capture. Here's The Milk Carton Kids demonstrating the Edwina. Using it as they do, standing back a bit, you can capture your voice and guitar. You could still plug-in your guitar, and close-mic your voice, and move back a bit from the mic for instrumental passages for more emphasis and volume but you'd have to figure-in feedback considerations and adjust accordingly. Ear Trumpet Labs makes feedback-resistant condensers that are good for both live and studio applications. I just bought a Myrtle that's similar to the Edwina but can be used for longer-distance, single-mic capturing of solos, duos and small ensembles.

Edwina: http://www.eartrumpetlabs.com/produc...ophones/edwina

Ear Trumpet Labs Homepage: http://www.eartrumpetlabs.com/

[Bobby1note]

In a band scenario, I like the SM58 a lot. From my soundmans' point of view, it's a great "defensive" tool.(as long as the vocalist knows how to "work" the mic properly.(consistent address/lips almost kissing the grille). A breeze to EQ to a neutral sound. This allows lowering the mic's input-sensitivity, which in turn helps avoid feedback

For the inconsistent-address vocalists, I prefer a super-cardioid, and lower vocal-volume in the floor monitor, as this tends to keep the vocalist more focused, and positioned tighter to the mic. As they "wander", the less he/she hears their voice in the monitor, so they'll usually stay closer to that grille.

[chitz]

I'll give another nod to the Senn e935. Great mic!

[SpruceTop]

The Shure Beta 58A is another good vocal mic.