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, 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 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.

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

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The AKG C585, Rode S1 and the Shure Beta 87a sound very similar to me. Well defined, accurate, but lacking the lustre of the Neumann KMS105.

The AKG C585 comes ahead of the others because it has switches to provide -10 db attenuation and low frequency roll-off. This is good for controlling the proximity effect that occurs with ~~condenser mics~~ when you "eat" ~~them~~.

The AKG C585 comes ahead of the others because it has switches to provide -10 db attenuation and low frequency roll-off. This is good for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use close-mic'ing techniques (when you "eat the mic").

The Shure Beta 87a is at the bottom of the list because, of all of the condenser microphones, it was the most difficult to control for feedback. This would be a concern in a hand-held situation.

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Since getting my L1™ I am playing more, performing more, and singing more.

In the L1™ t I ~~practiced~~ vocals using the Sony C48 and the Microtech Geffel UMT 70S, but since I couldn't hear myself anyway, there was no need to push the envelope (microphone quality) when performing live. I was singing harmony most of the time because I had not the confidence to take on lead vocals (couldn't hear myself). Now that I can get the same sound live as when ~~practicing~~, it is time to find a way to closely get the same sound in both circumstances. This was relatively easy to do with my guitar sound, and now I'm ready to do it with the vocals.

In the days before the L1™ I practised vocals using the Sony C48 and the Microtech Geffel UMT 70S, but since I couldn't hear myself anyway, there was no need to push the envelope (microphone quality) when performing live. I was singing harmony most of the time because I had not the confidence to take on lead vocals (couldn't hear myself). Now that I can get the same sound live as when practising, it is time to find a way to closely get the same sound in both circumstances. This was relatively easy to do with my guitar sound, and now I'm ready to do it with the vocals.

== What to do now ==

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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, 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 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.
 === Application - Hand Held Microphone - Soloist ===
@@ Line 61: / Line 61: @@
 The AKG C585, Rode S1 and the Shure Beta 87a sound very similar to me. Well defined, accurate, but lacking the lustre of the Neumann KMS105.
-The AKG C585 comes ahead of the others because it has switches to provide -10 db attenuation and low frequency roll-off. This is good for controlling the proximity effect that occurs with condenser mics when you "eat" them.
+The AKG C585 comes ahead of the others because it has switches to provide -10 db attenuation and low frequency roll-off. This is good for controlling the [[Proximity Effect|proximity effect]] that occurs with many directional microphones when you use close-mic'ing techniques (when you "eat the mic").
 The Shure Beta 87a is at the bottom of the list because, of all of the condenser microphones, it was the most difficult to control for feedback. This would be a concern in a hand-held situation.
@@ Line 79: / Line 80: @@
 Since getting my L1&trade; I am playing more, performing more, and singing more.
-In the L1&trade; t I practiced vocals using the Sony C48 and the Microtech Geffel UMT 70S, but since I couldn't hear myself anyway, there was no need to push the envelope (microphone quality) when performing live. I was singing harmony most of the time because I had not the confidence to take on lead vocals (couldn't hear myself). Now that I can get the same sound live as when practicing, it is time to find a way to closely get the same sound in both circumstances. This was relatively easy to do with my guitar sound, and now I'm ready to do it with the vocals.
+In the days before the  L1&trade;  I practised vocals using the Sony C48 and the Microtech Geffel UMT 70S, but since I couldn't hear myself anyway, there was no need to push the envelope (microphone quality) when performing live. I was singing harmony most of the time because I had not the confidence to take on lead vocals (couldn't hear myself). Now that I can get the same sound live as when practising, it is time to find a way to closely get the same sound in both circumstances. This was relatively easy to do with my guitar sound, and now I'm ready to do it with the vocals.
 == What to do now ==