Review / Microphone / Various: Difference between revisions

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* Shure Beta 58a

For high volume applications where gain before feedback is the priority, the Audix OM5 comes first. The Beyerdynamic M88 has a slight edge for clarity and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use ~~the~~ either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't really matter how good the microphone sounds under better circumstances.

For high volume applications where gain before feedback is the priority, the Audix OM5 comes first. The Beyerdynamic M88 has a slight edge for clarity and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't really matter how good the microphone sounds under better circumstances.

=== Application - Hand Held Microphone - Soloist ===

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The Audix OM5 would be a great addition to anyone's gig bag. I'll use the Beyerdynamic M88 (it's hypercardioid) when feedback is an issue. For the open stage type events, I'll probably continue to use Shure Beta 57s and Beta 58s.

For instruments I can use a couple of Neumann KM184s or AKG C451s. There is even a preset for the latter to be used with acoustic guitar. I think there's a notch at 200hz to alleviate boominess from the sound hole.

For instruments, I can use a couple of Neumann KM184s or AKG C451s. There is even a preset for the latter to be used with acoustic guitar. I think there's a notch at 200hz to alleviate boominess from the sound hole.

=== Counterpoint ===

Line 133:

See what others had to say about this review on the Bose® Musicians' Site

http://bose.infopop.cc/eve/ubb.x/a/tpc/f/1266055944/m/560107256

== Epilogue ==

May 2019

Fifteen years later:

* I now sing lead vocals in most of my musical collaborations and enjoy that immensely. I attribute this directly to:

** Being able to hear myself well through the Bose L1 systems over all this time

** Having found '''my''' microphone

** You can't fix what you can't hear. The {{L1}} systems let me hear better.

I'm still using the [http://www.neumann.com/?lang=en&id=current_microphones&cid=kms105_description Neumann KMS105]. It is my vocal microphone.

I've used several other microphones that weren't available for the comparisons above. Today I would include the [https://www.shure.com/en-US/products/microphones/ksm9 Shure KSM9] among the top contenders for a stage worthy condenser microphone. Having used both it's not a matter of one being better than the other. They are outstanding microphones. It comes down to person preference and the combination of the singer and microphone.

Since the introduction of the {{Compact}} and {{S1}} I've had to consider dynamic microphones because these two units do not provide phantom power required for my Neumann KMS 105. Today I would add these microphones to the comparisons of dynamic microphones.

* [https://www.electrovoice.com/product.php?id=85 EV N/D767a] (discontinued, and my favourite dynamic microphone for use with the {{S1}})

* [https://www.electrovoice.com/product.php?id=2618 EV ND86]

* [https://en-us.sennheiser.com/vocal-microphone-dynamic-super-cardioid-e-945 Sennheiser E945]

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@@ Line 48: / Line 48: @@
 * Shure Beta 58a
-For high volume applications where gain before feedback is the priority, the Audix OM5 comes first. The Beyerdynamic M88 has a slight edge for clarity and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use the either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't really matter how good the microphone sounds under better circumstances.
+For high volume applications where gain before feedback is the priority, the Audix OM5 comes first. The Beyerdynamic M88 has a slight edge for clarity and is very close in feedback rejection. I also know the latter to be extremely rugged. I would use either if I was working a small stage and could not get at least 4 feet away from the {{L1}}, or if having difficulty with reflections leading to feedback. If you can't get enough [[Gain Before Feedback|gain before feedback]], it doesn't really matter how good the microphone sounds under better circumstances.
 === Application - Hand Held Microphone - Soloist ===
@@ Line 90: / Line 90: @@
 The Audix OM5 would be a great addition to anyone's gig bag. I'll use the Beyerdynamic M88 (it's hypercardioid) when feedback is an issue. For the open stage type events, I'll probably continue to use Shure Beta 57s and Beta 58s.
-For instruments I can use a couple of Neumann KM184s or AKG C451s. There is even a preset for the latter to be used with acoustic guitar. I think there's a notch at 200hz to alleviate boominess from the sound hole.
+For instruments, I can use a couple of Neumann KM184s or AKG C451s. There is even a preset for the latter to be used with acoustic guitar. I think there's a notch at 200hz to alleviate boominess from the sound hole.
 === Counterpoint ===
@@ Line 133: / Line 133: @@
 See what others had to say about this review on the Bose® Musicians' Site
 http://bose.infopop.cc/eve/ubb.x/a/tpc/f/1266055944/m/560107256
+== Epilogue ==
+May 2019
+Fifteen years later:
+* I now sing lead vocals in most of my musical collaborations and enjoy that immensely. I attribute this directly to:
+**  Being able to hear myself well through the Bose L1 systems over all this time
+**  Having found '''my''' microphone
+**  You can't fix what you can't hear. The {{L1}} systems let me hear better.
+I'm still using the [http://www.neumann.com/?lang=en&id=current_microphones&cid=kms105_description Neumann KMS105]. It is my vocal microphone.
+I've used several other microphones that weren't available for the comparisons above.  Today I would include the [https://www.shure.com/en-US/products/microphones/ksm9 Shure KSM9] among the top contenders for a stage worthy condenser microphone. Having used both it's not a matter of one being better than the other. They are outstanding microphones. It comes down to person preference and the combination of the singer and microphone.
+Since the introduction of the {{Compact}} and {{S1}} I've had to consider dynamic microphones because these two units do not provide phantom power required for my Neumann KMS 105. Today I would add these microphones to the comparisons of dynamic microphones.
+* [https://www.electrovoice.com/product.php?id=85 EV N/D767a] (discontinued, and my favourite dynamic microphone for use with the {{S1}})
+* [https://www.electrovoice.com/product.php?id=2618 EV ND86]
+* [https://en-us.sennheiser.com/vocal-microphone-dynamic-super-cardioid-e-945 Sennheiser E945]
 ----