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This was down to a number of factors. “Normally if I’m starting a tour I’ll speak with the artist as well as the monitor engineer to discuss what’s been used in the past and what the results were, to determine the best mic to choose. In a live performance, this means that monitor feedback should be a rare occurrence. That was two years on the Hymn For My Soul tour. Although designed primarily for vocal work, the M80 also performs surprisingly well on percussion, brass and guitar cabinets, making it a versatile microphone for both the stage and the studio. One noted drawback is the mic’s tendency to suffer from plosives a little more frequently than other mics if you sing too close -- but nothing that can’t be fixed with proper mic technique. It’s a brave engineer who will make a stand about that, as the choice is often based on years of experience, combined with a certain superstition. They are just as happy picking up the ride and the guitar. Put some good headphones on and talk into the capsule. I also got some nice outboard to help make the Beta 57 hold its own a bit more against the loud band, and with that achieved I was happy losing the condenser. Usually I need to break out my extremely insensitive Telefunken M80 to deal with less-than-ideal environments like a trade show or an untreated room, but the Yeti X did pretty well (if you were unable to listen to the sample above). you can REALLY hear the sound of each mic and how it matches with your voice. Adjusting this with EQ would not work, due to how she hears her voice. At 3m? When when I started as the system tech on Rudimental I came across the AE6100 radio mics that both the monitor and FOH engineers were in love with and I had to agree that the sound quality from them is extremely natural. The M80 dynamic mic from Telefunken is an ideal choice for performing live. The slap-back from venues will sometimes be a factor with this as well. Then I got the chance to mix Joe Cocker. “I recently started mixing FOH for Alexander O’Neal, starting with a few festivals in the summer. He has been handling both with Postmodern Jukebox for over five years and has toured the world many times. In fact I have just chosen to put GIRLI onto a Shure 58 with Shure QLX-D RF system. £600.00 + £26.01 postage. Talk at the side: how does it sound; how cardioid is the mic; how omni? The DPA d:facto is a wonderfully open natural-sounding vocal mic. Then again, it depends on the gig; in this industry there are no two gigs the same and no right or wrong answers!”. It isn’t often that one product dominates a market for a single decade, let alone five, but Shure’s SM58 dynamic microphone has done just that. My early background was in studios and my first tour was with the Waterboys back in 2000. Tonally I always find that Sennheiser have something to do the job for me, vocally and otherwise. If the SM58 saw off competitors from other microphone manufacturers, it also hindered Shure from improving the breed. Off the record, even Shure’s own people would candidly admit that the SM58 had been so successful that it didn’t just inhibit its competitors in the marketplace, it inhibited Shure as well, and fixed people’s perceptions in an unhelpful way. As I started to do more, I started to experiment and then the Sennheiser e935 appeared. Jon Burton has toured with the Prodigy as their FOH engineer for over 14 years, and is currently also working with Richard Hawley.Jonathan Burton has worked with a wide variety of singers from Lulu to Beth Gibbons, Kelly Jones to Keith Flint. I use the same mic with Jessie J, who I’ve also been working with for quite a long while.”, With so many different solutions to so many similar problems it might seem as if we are no closer to pinning down a choice, but there are lessons to be drawn. This will tell how the inevitable spill will contribute to your mix. I make recommendations, but usually only present a few shortlisted options. Knowing that all of the mics had the same frequency response I was able to confidently mix the show while only listening to the reflection of the PA off the back wall. While the singer’s style will obviously affect the choice of mic, there are other factors at play, as Mike explains: “As a rule of thumb, I usually go with the mindset that condensers are great for quieter stages and types of music where vocals need to have that extra detail and delicate top-end sheen to them. Introducing a better mic at a higher price became difficult when the market was quite satisfied with what it already had, thank you very much. Where they differ is The SM58’s basket which is specifically tailored for live vocals making this mic perfect for that application. I have, however, had instances where an artist will want to know if there are better options out there for them. High-Pitched sound in recordings and speakers with a Zo... ModeAudio releases 'Replica - Serum Synthwave Presets'. Frank’s stage SPL is a little louder, although not a million miles away from the Amazons’ levels, although the problem here wasn’t the stage volume but Frank’s actual vocal tone. As we all know, the Shure SM58, despite its low cost, has become the standard vocal mic for every level of live performance. “For condensers I recommend the [Audio-Technica] AE5400, which not only makes for an incredible vocal mic but also works great for nearly anything you stick it in front of. He even has one tattooed on his leg! It’s not the end of the world, but also not as convenient as something like a lav mic for run-and-gun outdoor recording. With its extraordinary off-axis rejection, impressively wide frequency range featuring clear, expressive vocals and a rugged build that’s made to last for years, the Telefunken M80 is a great microphone that melds excellent performance, versatility and value in one outstanding package. In this case I suggested we move to a supercardioid dynamic to help keep the vocal isolated from the percussion and reduce spill down the vocal channel. All rights reserved. For example, Blake Lewis also beatboxes, and with him I went with an Audix OM2 because the response on the lower end with his beatboxing ‘kick’ sound was better than anything else that we had tried. The SM58 is the sibling to the mythical SM57. It’s been another go-to microphone as it premiered in 1966. Chris Madden has mixed shows for Sade, Jessie J, Pink and Anastacia, and is another fan of Sennheiser’s stage mics.Like Steven Carr, Chris Madden has built a reputation for working with female vocalists including Sade, Jessie J, Pink and Anastacia. The odd thing was I had to mix side of stage! However, sometimes they are just not appropriate. Pink performing at the 2014 Grammys.Photo: D MilesonAfter Chris Madden’s work with Joe Cocker, his next gig was with pop artist Pink (Alecia Beth Moore), which had a very different set of requirements. So we lost that and changed the vocal mic to a 5000-series stick with a 535 capsule. Think of it like using a flathead screwdriver for fastening a Phillips screw into a wall. “Around 2006 I started with the Sugababes, which was already a Sennheiser gig, using RF G2s with 935 capsules.

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