OT - Live Vocals

[soundtrack2life]

I have a situation that I am involved in were we are working with an up and coming young female vocalist (with label interest). Are there any live microphones that anyone could recommend to make up for lack of experience with mic technique? Or something that will make her shine as she develops it. So far I have tried the only a Shure SM 58 that did not work so well. A head set mic is not out of the question . . . TIA
Joe

[DominicPerry]

There are two I really like which are very different. My favourite is the Audix OM5 which is like a nice sounding SM58, but you have to get pretty close to it to make it work. The other one, which is conpletely different is the Beyer TGX80. I use it a lot as I have a lot of difference in the volume between the loudest and softest parts of my range, and it works well at a distance, so I can move in for quiet bits (say, 4 to 6 inches) and away for loud (12-18 inches) and get a good clear sound. Not too much proximity effect. You can do the same with other mics but you have to get just the right distance, the TGX80 seems a bit more forgiving. And it doesn't colour the sound too much. Works for me, anyway. Personally, I've never got along well with SM58s or SM57s for vocals, I prefer a clearer sound with less 'mic' in it.

Dominic

[Bill Park]

The top, without question, is the Neumann KMS 150, which is about a $1500 mic. Tom Petty, Bob Dylan, Crosby, Stills and Nash, and Bruce Springsteen are among the users. DO NOT! buy the 105, which, in my opinion, is a dog.

I've used the Beyer M-88 for many, many years. Bowie, Phil Collins, Elton John, and many others over the years have relied upon this mic (including Crosby and Nash, before the Neumann was released.) Warm and rich, similar to the Sennheiser MD441 which Stevie Nicks made famous in a couple of videos in the 1980s. I am a big fan of Beyer mics, but not so much the TGX series mentioned earlier. But this depends upon your PA system, if you'll hear the bits in the TGX that I don't like, or not.

The EV RE15 and RE20 get used for vocals. Similar but does not rise to the quality of the Beyer or Sennheiser.

Audix is a great choice for a low budget, as would be the Beyer M-69.

A bottom dollar mic would be the Shure SM 57. But it reuires that you stay on axis. Tom Petty used this mic exclusively for the majority of his career until the Neumann 150 was released.


Bill

[TotalSonic]

The Audix OM line is definitely worth auditioning. Shure 87 (their handheld supercardioid condenser) is another option you might want to try.

Best regards,
Steve Berson

[Dave Labrecque]

The top, without question, is the Neumann KMS 150, which is about a $1500 mic. Tom Petty, Bob Dylan, Crosby, Stills and Nash, and Bruce Springsteen are among the users. DO NOT! buy the 105, which, in my opinion, is a dog.

I was poking around and found this on the Neumann site forum, written by a Neumann mic development guy, in reply to someone asking about the 105 and 150:

The KMS105 is a supercardioid, the KMS150 a hypercardioid, i.e. just slightly more directional. Sonically, they hold the same capsule, so there is not much difference.

If you should need a 10 dB attenuation switch, and a switchable low cut for distant / close miked situations, the KMS150 would be the first choice.

But generally, I do recommend the KMS105 for almost all applications.

There are also some posts about intermittent audio with the 105, though I don't know how widespread that problem is.

What are the specifics of your canine condensor experiences, Bill?

[Scott P]

I have several KMS 105's that I have had for about 6-8 years. I haven't had any problems with them. Also, as for them being a dog, I completely disagree. As with all mic conversations, everyone has an opinion.

I have to say that so far I've had good results with the 105's. They are supercardioid (I bought these before the 150's were available). So the singer has to stay "on mic". One thing I do like about them is that there is little or no proximity effect, so amateur vocalists don't mess things up too much when they try (and fail) to "work" the mic.

Scott

[Bill Park]

I was poking around and found this on the Neumann site forum, written by a Neumann mic development guy, ...
What are the specifics of your canine condensor experiences, Bill?

For years the Shure 57 was my choice in live vocal mics for myself. Then I heard the Beyer.

I understand what they say about the 105 verses the 150, but I have had various conversations with various individuals more knowlegable than I that say that the 105, when first released, had the same capsule as the 150, and that was the source of the great reviews. But the capsule has supposedly been changed. I don't KNOW this for a fact, this is just the rumour mill working. I do know some sound guys who will not send their 105s back to the factory, for fear of having the capsulses swapped out. (Much as JBL did with the AKG 414s with C-12 capsules.) I can tell you that the Shure 57 and te 58 have the same capsule yet sound entirely different. (shrug.) I also understand them promoting the 105.... it is the top capsule available for the Sennheiser wireless system.

I can tell you that, carefully listening to the 105 in live use by the Irish Tenors when they played the Benedum Center lead both myself and the house sound guy to question our original beliefs... that the 105 was a great mic... and to listen carefully whenever they showed up. My personal emprical observation from listening at the Benedum Center, Heinz Hall for the Performing Arts, and the Byham theater left me wanting a smoother mic with less harshness in the top end.

My own typical vocal mic choices here from my available choices? The Korby Empyrian, Korby Convertible, a couple of different vintage Neumanns, a couple of different RCA ribbons, a few vintage AKGs, a Telefunken/Schoeps.... I've had a couple of Casades and Studio Projects through here... as with most of these mics du jure, they are popular for a while, then everyone goes back to the classics. Which is what makes them classic.

It might be worth exploring the Countryman or Sennheiser MKE 2 or DPA small mics, if the artist is mobile.

Bill

[Scott P]

Bill,

Thanks for the information, even if it is rumor mill. Sometimes rumors have basis in fact. I'll have to check in to that. I wouldn't be surprised to find it to be true.

If it is true, I'm glad I got mine early. Like I said mine are at least 6-8 years old and the dealer had them a while before I got them.

Scott

[William Bushnell]

Our vocalist likes the Shure Beta 87 condenser. I tried to switch her to an AKG C535 which I really like but she would not switch. (Maybe that's why some call the Beta 87 a chick mic) She also did not like some of the AT mics we tried. I haven't had her try an Audix OM5 but it is a good sounding mic.

The EV 767 is also a great sounding mic and it blows the SM 58 away. Not much more money than the SM 58.
____________
William Bushnell

[mako]

Another vote for Beta 87.

For nice MOR stuff - excellent - smooths my voice.

For loud rock I prefer the Beta 58 that sits better in a small space.

Depends on the voice too - mine's pretty hard, and after trying quite a few mics this year, I settled largely on these two.

cheers

mako