MICROPHONE UPGRADE

[Buschman]

I have been using a Beta 58 for quite a while but have been considering an upgrade to a sm86 or BETA 87. I get to do a bit more acoustic music now and would enjoy the crispness. Any thoughts? Any sleeper microphones I should know about in that price range?

[selloutrr]

The Audix OM vocal microphones are far warmer then the Shure Beta.

The Shure Beta Series have a tighter pattern (hyper Cardiod) and a small boost in the 3Khz giving them a cutting treble / presence. This can be a good or a bad thing depending on the artist using them.

It's hard to say which microphone will work best you without hearing you perform. Professionally my go to microphones are,

Shure SM58 (hardline, or capsule on UHF)
Neumann KMS 105 - my favorite for warmth and body
Shure Beta 87A (with the right artist)

If you can go to the Guitar center and demo the shures and Audix find what works for you. If you have $700 buy a Neumann 105 and be happy for life.

[Andy Le Blanc]

second the audix

take a look at the Audix vx-5, very flat response, smooth like a neuman
but very affordable. just got a pile of i5, good mic, gonna get a pile of
OM2/3 as knock about stage dynamic. Made in USA too I think.

[Gibsonman63]

I went from the Beta 58 to the Beta 87A. I don't have the strongest voice and I front a power trio, so I need all the help I can get to make it through a four hour gig. The 87A has a little more power and a little better feedback rejection and still has crisp highs. It's a condenser, so you will need phantom power.

[selloutrr]

If you aren't a strong vocalist and need more gain.
Try a "Y" cable and using two channel strips to double your volume into the the PA. It's also a nice trick to setup FX wet dry and use mute automation instead of brain power on an analog console. If you only have one compressor route both signals to the compressor thru and Aux send and bring it back to another channel strip or if your board allows it the master bus. I all depends on how you want to process the signal.

[Gibsonman63]

Interesting idea. I will have to experiment. Mains aren't really a problem, but a good strong monitor is always nice and makes it easier to sing on pitch without resorting to too much head voice.

My trick for vocals is to use the band dynamics to drop the volume down where it is easier to sing over. To me it is much more interesting than hearing a band play the same volume for the entire night.

[billyz]

My Favorites are Audix OM5 and OM6. The OM 6 is like a really good condensor mic with out the feedback issues on stage. All the Audix mics I have used OM3,5,6 and a few drum mics have superior feedback properties and much better definition/clarity. I spoke to Cliff Castle of Audix and he told me they designed the OM2 to be a sm58 clone by muddying up an om3. Also, the neodym magnets on the beta series always seemed a bit harsh sounding, same for the EV series with the Neodym mags. I have used some nice Sennheisers though I don't remember the models.

[selloutrr]

Electro Voice RE16 is a nice vocal / horn mic.

Sennheiser 441 is another nice vocal (fleatwood Mac) and horn mic.

[Buschman]

+1 for playing with dynamics. My voice is fairly deep with midrange qualities. I am after some sizzle and thought a condenser mic would help. I have used an Audix before but don't know which one. The 0m6 sounds worth checking out.

[vibratoking]

I use a Beta87A live. +1 on having enough monitor. I like the idea of a Y cable into two channels. I'll have to give that a try, although I usually reach the level of feedback with one channel.

My trick for vocals is to use the band dynamics to drop the volume down where it is easier to sing over. To me it is much more interesting than hearing a band play the same volume for the entire night.

Can you explain further? How exactly do you use the band dynamics to drop the volume? We don't play at the same volume all night, but how does that turn into a trick for vocals?

[selloutrr]

keep in mind a condensor microphone will require 48v Phantom power to operate. (for the most part) Condensers are all also more sensitive to feedback and depending on the pattern they can bleed. make sure you pick the correct pattern.

[Gibsonman63]

Not as much a trick as having a coorperative band. I generally play single channel amps and just work my volume knob a lot. When I drop my volume down on the guitar, the bass player and drummer follow suit, then it gets easier to sing because the stage volume is reduced and I can concentrate on hitting the note instead of putting enough power into it to hear the note. Some songs call for more power than others, but full power all night is hard to do.

It's nothing new, I just don't see a lot of other local bands doing it.

[billyz]

+1 for playing with dynamics. My voice is fairly deep with midrange qualities. I am after some sizzle and thought a condenser mic would help. I have used an Audix before but don't know which one. The 0m6 sounds worth checking out.

Audix OM6's can be had fairly cheap on the used market. When they 1st came out they were pretty expensive but have come way down these days. I paid $100 for the last one w bag and the extra nice Audix clip.

http://www.audixusa.com/docs/products/OM6.shtml

[vibratoking]

Thanks for the clarification Gibsonman63. I wish I had your bass player and drummer. Mine don't listen for shit. The bass player has ear plugs in and I am convinced he has little to no idea what I am playing. Bass and drums are always too loud in my band. I'll turn down to the point of being drowned out, hoping that they will follow suit, but they are content to continue drowning me out. This goes for vocals and guitar. I can't seem to get them to follow suit no matter what I do or say. Don't take your guys for granted.

Of course, this has nothing to do with microphones.

[Buschman]

It's not easy to find pros to play with on a part time basis but if I were you I would keep looking or at least have a come to Jesus meeting. It is no fun to scream and holler for 3 or 4 hours. You can't play loud unless you play quiet sometimes. There has to be contrast to be interesting. It's the beauty of live music. It is not all compressed onto a CD.